This was a weird year for movies, as I was only able to see two of these movies in an actual movie theater and with me only spending a collective, like, $50 or $60 on these in total (not including subscriptions to streaming services in which case I spent way more than that, but you gotta do it. For The Content). That said, the oddness of the release of this year’s slate of movies did not stop it from being an impressive one. There are many movies on yesterday’s list that I think could have been on another year’s Top 20, and movies on the early parts of this list that could have made a serious run for a top 5 in a different year. I do so dearly wish I could have seen many of these in a theater, where my focus is at a higher level and where I could have engaged in a collective gasp or laugh with the strangers around me, but we do what we have to do to keep ourselves and those around us safe. I hope 2021 will bring normality to the movie experience soon, but until it is safe to do so, I will happily keep watching stuff from the comfort of my home.

So a couple of quick notes on what I defined as a 2020 movie, as some of these were not accessible until 2021, while other movies there are likely to be awards contenders will have to be on next year’s list. In general, if the movie is released between February 2020 and January of 2021, I’ll include it as a 2020 movie. That’s most because, in a normal year, January is this weird mix of bad movies that are left to die and awards caliber stuff that is finally getting a wide release. I could wait until February and catch stuff like Nomadland or Minari but I don’t want to do that because I have nonsense standards/I know if I put this off too long it will just sit in my drafts folder like the 2019 ranking. I have the drive to write now, so I’m going to. Also, for no real reason, I’m probably going to include the current Hulu magic documentary In and Of Itself on next year’s list. It’s out now, but whatever. My blog, my rules. I’m getting inexplicably defensive over something nobody cares about other than me, but it is my God-given right as an American to yell about my freedoms in a way that is hugely annoying to every other American.

Anywho. Here’s the list.

(Quick tangent: there will be one more post after this, detailing other fun media stuff that got me through 2020, and naming my favorite character of this year and last, since I missed doing this. I could do that this year, but this year’s last movie feels like it should probably have the last word here).

Anywho. List for realises.

20. Ma Rainey’s Black Bottom

One of two films on this list that are adapted from stage plays and that feature a predominantly black ensemble, the first film on this list will probably end up being best known as the late Chadwick Boseman’s final on-screen appearance. Boseman brought to screen the larger than life presences of real men, like Jackie Robinson and James Brown. Boseman turned a potentially forgettable role the only thing I really ever think about in the NFL film Draft Day. Boseman, most famously, brought to life King T’Challa, giving young black fans of the Marvel Cinematic Universe someone wholly regal and powerful to look up to. And yet, even still, it felt like we were barely beginning to understand what that man had to offer as a performer, and this movie lends even more proof to that. Playing Levee Green, a fictional trumpeter for the very real titular Ma Rainey, Boseman has the charm we have come to expect from him, sliding around the practice room with his other bandmates, bragging about his own up and coming career that is sure to break out any day now. However, underneath that winning smile is something much darker, as his family’s past causes him to lash out and challenge a bandmate’s faith, all while tearfully taunting God. That combined with the film’s shocking conclusion gave Boseman some of the darkest material he ever got to work with, and he doesn’t miss a single beat. I so badly wish I was writing about him in the present tense, and that we had so much to look forward to with his career, instead of the little bit of voiceover work he was able to record for Disney+’s What If series. At least, with this (and Da 5 Bloods, which I will discuss shortly), he got to go out on his two best performances. Realistically, even that isn’t enough. He will be sorely, sorely missed.

Streaming on Netflix

19. The Sound of Metal

A slight step up from Riz Ahmed’s last major film release (Venom, a movie that expected me to believe that Ahmed could go 1-v-1 against Tom Hardy), this is a  tale of a heavy metal drummer suddenly losing the majority of his hearing and living in a commune that doubles as a Narcotics Anonymous for other deaf individuals. It’s a strong performance, but it’s the film’s (almost complete) dedication to portraying this community in an honest way that helps it stand out a moving experience. Although Ahmed has no known connection to the deaf community, his primary co-star Paul Raci, who plays Joe, the leader of the commune, was the hearing son raised by two deaf parents, and the remaining members of the commune and a school that Ahmed visits are all performed by deaf performers. It ends up being Raci’s Joe that provides the heart of the film, as he plays the desire to help and guide Ahmed with a raw honesty, especially in the film’s climatic scene when Ahmed’s drummer reveals he got cochlear implants. Raci’s disappointment and hurt is palpable, as his community is built on the firm belief that deafness is not a disability that needs fixing. It’s a scene that works primarily because of Raci’s connection to the community he is portraying, and although this film could have taken further steps towards representation, this is, at the very least, an encouraging step towards a more complete representation of a community that is often cast with hearing performers.

Streaming on Amazon Prime Video

18. His House

I mentioned in yesterday’s post that Netflix’s hit rate is…well, they release an “original” movie a week, if not more, and only a small handful have really stood out or made any kind of real impact (and many of those, including 2018’s gorgeous Roma and this year’s Mank, which I’ll discuss later, are more known for their directors than the streaming service that lucked into them). But I feel like when the movies hit, they really hit, which is the case with this horror film, a debut for writer/director Remi Weekes. The film tells the tale of two Sudanese refugees who arrive in London and are placed in a lackluster tenement which is overrun with cockroaches, peeling wallpaper, a witch, more cockroaches. Although the witch is causing some genuine haunts and scares, the couple must also live with the horrors they experienced and participated in during their escape from South Sudan. Weekes weaves together both realms of horror, supernatural and all too real, in a visually striking way (see above for an example), and the  smartly cathartic and emotionally satisfying conclusion he weaves is more than enough to not only put his movie on this admittedly insignificant ranking, but also will put his name on the radar of more horror producers.

Streaming on Netflix

17. Da 5 Bloods

The first of two Spike Lee joints to appear on this list, his epic tale of the remaining members of an all black unit returning to Vietnam in hopes of finding the gold they left behind during their original deployment works best when it focuses on the characters at the heart of the story. There are a handful of performances that are truly worth celebrating within those characters, including Chadwick Boseman’s portrayal as the leader of their unit who was killed during the initial deployment, but this movie mostly belongs to Delroy Lindo. As the only member who appears to be seriously struggling with PTSD, Lindo frequently projects a bravado that can come crashing down in an instant whenever he is reminded of the horrors he experienced (and oftentimes caused). Perhaps his strongest sequence comes after he has broken off from the rest of the group and delivers monologues directly to camera, raging about the state of the affairs, both during the war and after. Lindo’s powerful voice and Lee’s refusal to move the camera even a little bit from his face causes the words to drive into the audiences chest and mind, refusing to leave for some time afterwards. Although this film’s portrayal of the Vietnamese is muddled, the performances of the film’s core characters does enough to balance that out, with Lindo alone pushing this film into the final ranking for the year.

Streaming on Netflix

16. Freaky

Over the past few years, Christopher Landon, who wrote most of the Paranormal Activity sequels, has broken out as something of a master of the craft of horror comedies, primarily because of the success of Happy Death Day and its sequel. Although most of the credit for the success of those movies should rightfully fall on Jessica Rothe’s engagement lead performance, Landon’s Script and sure hand at executing the fine line between horror and comedy deserves its fair share of praise as well. That is on display again here, in this Freaky Friday that happens to have a serial killer as the murderer. Again, the horror and comedy are both well on display here, but it’s Landon’s lead performers, here split between Vince Vaughn, who is shockingly nuanced in playing a teen girl trapped in a serial killer’s body, and Kathryn Newton, who has a devilishly good time as the serial killer trapped in the body of a teen girl. It’s a movie that easily could have crumbled with a weak performance in either role, but especially if the middle aged man realllllly leaned into a stereotypical teen girl performance, but Vaughn, under Landon’s direction, really nails it here and provides a surprisingly amount of empathy to the performance, particularly during a scene when the girl’s mom unknowingly is speaking to her daughter about the loss of their husband/father. It’s exquisite work all around, and I look forward to see how Landon continues to nail this genre.

Available to own

15. I’m Thinking Of Ending Things

When the trailer for this movie premiered in the middle-ish of last year, I had not heard of Iain Reid’s book with the same name, but the trailer made clear that…well, it made clear that shirt was gonna get weird. From a dog that wouldn’t stop shaking itself dry, to Toni Collette acting odd in a suburban household (a thing I am now abjectly terrified of), to Jesse Plemons general existence, the whole trailer just reeked of discomfort. Then I read the book, which, yeah, writer/director Charlie Kaufman had clearly gotten Reid’s vibe and ran with it. A loyal adaptation that fleshes things out a bit more, the whole film left me with this feeling that I was wearing someone else’s skin instead of my own: nothing felt right. People’s costumes would inexplicably change. The main character’s name is never consistent. It’s just…tremendously odd. And that’s before it channels Oklahoma! and has a whole ash dream ballet for like ten minutes, and that’s before a fantasy sequence where the main guy sings a different song from Oklahoma! Basically, what I’m saying is…Charlie Kaufman should make an Oklahoma! movie.

Streaming on Netflix

14. Never, Rarely, Sometimes, Always

This one is probably going to be the most difficult for me to talk about, as the main plot of this movie, the story of a young girl going on a road trip to abort an unwanted pregnancy, one that is likely the product of a sexual assault, is not one that is wholly in my wheelhouse. I was raised Catholic, and in eighth grade, was tasked with writing a pro-life essay. Realistically, it wasn’t until late high school, maybe even college that I really began to hear pro-choice arguments presented with any level of seriousness and began to understand that a topic that I had learned to be fairly cut and dry (death=bad) actually has many nuances (questions of consent, incest, safety of the mother, etc.) I wonder how a movie like this would have played for me prior to my having a wider understanding of the topic. I imagine the tale would have rung as preachy, instead of as heart wrenching, as this young girl has to deal with not only an unwanted pregnancy, but other difficulties that come with being a young girl, which mostly boils down to “men are gross and bad,” which, I mean, yeah, fair. Between writer/director Eliza Hittman’s script and direction and Sidney Flanigan’s moving performance, this movie never feels anything less than gutpunchingly honest, and I’m glad it was able to play to a more open/understanding version of myself.

Streaming on HBO Max

13. Bill and Ted Face The Music

It is genuinely baffling this movie works. In the nearly three decades after the release of the second film, Alex Winter had shifted his career focus to directing small projects, while Reeves has become a huge action star and kind of a meme, so their reuniting seemed a little odd, but with the original writers onboard, it seemed possible the gamg could recapture some of that old magic. And, somehow, that’s what they did. This isn’t a groundbreaking, world-changing film, nor does it think it is. It’s just two idiots traveling into the future in hopes they can steal a song that will unite the world from themselves. Also, there’s a murderbot chasing them, as murderbots are want to do. It’s fun and silly and bright and sometimes that combination of things, when it hits at the right time (like a year that is boring, bleak and dark), can produce something meaningful out of a product that seems meaningless. And that’s what happened here. Party on, dudes! *air guitar noises*

Available to rent on Amazon, YouTube, etc.

12. One Night In Miami…

Regina King’s directorial debut is able to stand above the other play adaptation on the list for a number of reasons, not the least of which is how large she is able to make this film feel. Covering a fictional meeting of activist Malcolm X, boxer Cassius Clay (before he assumed the name Muhammad Ali), singer Sam Cooke and football star Jim Brown, King is able to make a film that takes place predominantly in a single hotel suite feel as large as a meeting between these giants would have been. It’s an incredible look at four men, all considering their legacies as black men at crossroads of their respective livesHer sure-handed direction, often ensuring that no matter the angle or the focus, all four men are the same frame, combines with strong performances to make them all come to life. In particular, Kingsley Ben-Adir and Leslie Odom, Jr. bring the central conflict between X and Cooke arguging over their legacy to life, made all the more signifcant considering both men would be dead within a year of the night’s fictional meeting.

Streaming on Amazon Prime Video

11. Borat Subsequent Movie Film

Acting as something of a surprise release, the sequel to 2007’s original hit film, bringing Sacha Baron Cohen’s longstanding character to the big screen, was publicly announced within two months of its release date on Amazon Prime Video. While the news of its initial release ended up focusing on the hotly debated Rudy Giuliani scene, I think it’s the former hero mayor’s scene partner that is the real takeaway from this movie. Bulgarian actress Maria Bakalova came into this film, in which she portrays Borat’s daughter, as an unknown entity, a keep part of being able to get new pranks for a Borat movie since the titular character is now famously a character played by Cohen. Bakalova is somehow able to go toe-to-toe with Baron Cohen, pulling off bits in front of people with a confidence and courage that is truly hard to fathom. Even prior to the now infamous sequence with Rudy, Bakalova participates in a, uh, revealing dance at a debutante ball, and describes, in detail, her first orgasm to a group of religious women. Almost any scene she participated in is cringe-inducing, but she does it with no real evidence of breaking character or anything resembling fear. It’s a bonkers achievement to go toe-toe-toe with a man who has been doing this kind of schtick for most of his career, even moreso when you consider that, by film’s end, this feels like less of a showcase for the titular character, and more a preview of what we can potentially look forward to from her.

Streaming on Amazon Prime Video

10. Underwater

A rare exception to the normal rule of January, where a movie coming out is either awards bait finally being released to a wide audience or Utter Trash, this January 2020 creature feature whips. Starring Kristen Stewart, the film takes place in a drilling facility located at the bottom of the Mariana Trench where, pretty much immediately, things start to go wrong as there is some kind of breach in the facility, causing it to collapse, section by section. The tale of survival that follows is a tight 95 minutes, using every bit of that time to progress the audience to a climax that will excite even the basest of HP Lovecraft fans. There really isn’t a whole lot to delve into on this, because it’s a simple premise that doesn’t try to be anything other than “some folks have to cross the bottom of the Mariana Trench in hopes of finding another base, also, there by monsters.” However, it milks that simple premise in the best of ways, and easily ascends beyond it’s January release stigma.

Streaming on HBO Max

9. Birds of Prey

If you had told me when the respective movies were announced, that I’d be writing about how Wonder Woman 1984 as a top 10 movie, while Birds of Prey was covered in the Be Kind Rewind, that would have made more sense than the actual reality. One is the sequel to the DCEU’s best film, while the other takes the best part from arguably their worst film and spins her off into her own thing. That said, WW84 is a bloated, chaotic mess (don’t need to be nice anymore, babyyyyyy) and this movie has a scene where a coked out Margot Robbie beats up some creeps with a baseball bat. It is that vibe, joyous, colorful but still R-rated (without shoving it in your face like the entertaining but ultimately forgetable Deadpool movies) that helps this movie stand out and feel like a breath of fresh air, especially amidst the consistently stale DCEU.

Streaming on HBO Max

8. Mank

After six years and heavy involvement in 2 Netflix shows, David Fincher is back to films, babyyy. This one, a dramatization of Herman Mankiewicz’s path towards writing Citizen Kane, borrows the older film’s story structure, as it flashes back to significant moments, while the present focuses on the actual writing of the script. As is always the case with Fincher, the movie is filled with strong performances, especially Gary Oldman as Mank and Amanda Seyfried as Marion Davies, girlfriend to Kane‘s basis, William Randolph Hearst. However, what really helps this film, and the one that follows it on this list, is the score by Trent Reznor and Atticus Ross. The Nine Inch Nails collaborators have made a second name for themselves as extremely competent film score composers, having scored Fincher’s last four films, winning an Oscar for The Social Network, as well as an Emmy for their incredible work on HBO’s Watchmen series. Here, they mesh their typical foreboding sound with the sound of a classic, soaring film score, perfectly dropping the audience into the time period while still feeling like themselves. Their transition to score composition, particularly with Fincher has been an absolute thrill to watch, and this is yet another example of their prowess.

Streaming on Netflix

7. Soul

Although I am glad I have seen this movie, it bums me out that Disney decided to drop it on streaming instead of waiting to allow it to have its day in theaters. Like I mentioned yesterday, this was part of a trend last year of major companies dumping a disproportionate number of films focused on people of color to streaming services. Even though this film has its own issues with portraying POC, namely shoving a white woman’s voice into a black man’s body, which, admitedly, is far from ideal, the trend last year was a troubling, but far from surprising one.

That said, I really do adore this movie, despite its issues. A profound and moving story that hones in on how deflating and life-taking the grind can be, while robbing us of the ability to simply enjoy life as the gift that it is. The sequence that really nails this is towards the end of the film, as Jamie Foxx’s character sits down at the piano, after emptying his pockets of all the seemingly meaningless objects that Tina Fey’s soul character had placed there throughout her stay in his body. Again, Reznor and Ross show their skill here, as their “Epiphany” track (above) plays with gentle keys before more backing sounds allow it to soar. The sequence, which ends on the frame slowly progresses from a shot of the city to a shot of our galaxy, is the most mature and borderline abstract thing Pixar has done, and while I can’t imagine a kid jiving with it, it blew me away and put this film on its back and carried it towards the top of the company’s efforts in my book.

Streaming on Disney+

6. Palm Springs

I am a sucker for time loop media. Like I mentioned above, I think the Happy Death Day movies are some of the best genre flicks we have had in a long time, and Stuart Turton’s The 7 1/2 Deaths of Evelyn Hardcastle is one of my favorite books that I have read in the last several years. This film is yet another example of how this specific brand of genre fare can be used to puzzling but delightful effect. The fact it stars the always charming Andy Samberg and the wildly underutilized Christa Milloti only adds to its overall power. The two, who I think both could have chemistry with a cardboard box (just look at the last season of HIMYM lolowned), play off each other comedically and romantically extremely well, especially in the required by law time loop montage (the choreographed dance makes me smile anytime I think about it). However, what sets this apart from recent others in the genre is the overall stakes and weight that being stuck in the loop can hold, particularly through JK Simmons’s character, who is heartbroken at being unable to be watch his daughter grow up. The mix of levity and heart anx weight this movie nails is a testament to the script, but especially to the able cast who are able to display all of these things with ease.

Streaming on Hulu

5. Portrait of a Lady On Fire

The last two movies I saw in a crowded theater make up the next two movies on the list, as me and my close good friend Adam (check out their blog or else) went through a helluva feminist double feature, starting with this French film, which technically came out in 2019 but didn’t come close to Cincinnati until February of last year. This gorgeously shot film tells the story of Marianne, an artist tasked with spending time with Héloïse, a young woman who has been recently betrothed, in order to secretly paint a portrait of her that can be sent to her future husband. The painting must be executed in secret as Héloïse refuses to sit for the painting as an act of protest towards her marriage. As the women spend time together they become close and eventually fall in love. Their romance as gorgeously and maturely captured, the benefit of having women capture the story. Between director Céline Sciamma’s direction and Claire Mathon’s cinematography, the affair is sexy without being objectifying, and Sciamma’s script knows the heart of the affair is the women’s connection to each other, as even the brief glimpses of their sexual relationship are usually the conversations that follow. It is a breathtakingly beautiful effort, and one I consider myself extremely lucky to have seen on a big screen with a crowd.

Streaming on Hulu

4. Invisible Man

The second half of my double feature with Adam (read their blog or go to hell), and my last theater experience with a crowd, was a decidedly different experience. After the hilariously failed attempt at building a Dark Universe, Universal went back to the drawing board in terms of bringing their classic monsters to the big screen. Enter Leigh Whannell who took the titular monster and made him a gaalighting psychopath who faked his own death just to torture the woman who has the nerve to run away from his physically abusive bullshirt. This take alone would have been enough to make this movie great, but Whannell and his cinematographer Stefan Duscio increase the creep factor by weaponizng empty space on the screen, always calling into question what is truly empty and what could actually have a lurking presence. It’s unnerving as hell. Throw in the always great Elisabeth Moss, bringing some of that “Men Are Awful” energy from The Handsmaid’s Tale, and a truly gasp-inducing kill, and you end up with an all-time great horror film and one that bodes well for the future of Universal monsters.

Streaming on HBO Max

3. American Utopia

This might be kind of a cheat, since it is more of a recording of a live concert/stage show, but it rules and this is my blog so what I say goes. (Note: Hamilton is obviously also a recording of a live show and is also great but it has also had 19 moments in the sun, who cares?) This film, a Spike Lee recorded production of David Byrne’s concert, coming out in the middle of a pandemic probably helped my appreciation of it. It’s a show that uses Byrne’s not insignificant library of music to tell a story about the need for human connection and our responsibility for the people around us and the future generations who will be left with whatever version of Earth we give them. It’s the focus on human connection that rings so true in a year that has lacked it for so many people. The live theater setting, particularly when audience members stand and scream when hearing some of The Talking Heads bigger hits, made me crave those experiences again, as well as giving me a desire to be profoundly moved by live art again. In particular, Lee brings Byrne and company’s already moving interpretation of Janelle Monae’s already powerful “Hell You Talmbout” to a crushing climax, as it shows pictures of black people taken from us, whether through unchecked police brutality or run of the mill racism. Closing on images of people that were lost in even just the year since the performance was recorded brings that crushing feeling to an even finer point. However, despite all this, Byrne finds hope in what the future of humankind can do, and, if all else fails, he finds joy in the coming doom as he and his band walk through the lively audience, shouting about their “Road To Nowhere.” It’s all just so great and I cannot watch it enough. I can’t wait to be somewhere adjacent to all of that again.

Streaming on HBO Max

2. The Vast Of Night

Perhaps the sneakiest movie on this list, this is a movie I had no idea existed until I saw some film folks I follow tweeting about how it is likely one of their favorites of the year. So, going in empty, I threw it on and was entranced for the next 90 minutes. A simple premise, as a radio disc jockey and a switchboard operator both encounter a strange noise while most of the town is attending a local basketball game, the film feels like it could easily be a stage play. However, director Andrew Patterson makes the film feel huge and tense, bouncing between long one shots of just watching the switchboard operator just react to the noise and field calls about it (there’s one shot that feels like it is just this girl for about 20 minutes and it is incredibly tense) and then taking us on a town-spanning tracking shot, as we leave the switchboard operation and trek across the entirety of the town, through the in-session basketball game, up the bleachers, out of a window and across the street to the radio station. As the film progresses, and our characters speak to a variety of individuals, including a man who recognized the noise from his days in the military and another couple chasing what they believe to be a UFO, the tension grows and grows until the incredible climax, where the film’s previously small-feeling budget gets blown out of the water. This movie makes brilliant use of its short run time (it clocks at under 90 minutes, which feels truly unheard of at this point in the film industry). In a time when so many movies feel like they have to pack so much into a runtime of close to twenty minutes, finding a movie that can be so precise and tense in a fraction of the time feels like a diamond in the rough, and that is exactly what this movie is.

Streaming on Amazon Prime Video

1. Promising Young Woman

Image

CW: sexual assault

There have been a few holders of this year’s title throughout the year. Most of the year, it was Portrait of a Lady On Fire, for a bit I thought The Vast Of Night might sneak away with it. I even thought that American Utopia could catch me by surprise and win it all. And, then I watched this movie and everything just became so obvious. One of the last movies I watched for this year (which happens to be the last trailer I can actively remember seeing, prior to Portrait of a Lady on Fire), Emerald Fennell’s writing/directing debut is a searing look at the state of men today, and what feels like a brutally honest tale of revenge against the people and systems that perpetrate rape culture. There is a lot to praise here, from the darkly funny script, to Carey Mulligan’s career best performance as Cassie, a woman absolutely determined to get any sort of revenge that she can for the assault of her best friend that went unpunished. However, it is the casting of the supporting cast of men that feels like this movie’s true moment of brilliance. Basically every man in this movie is guilty of something, whether it be attempted assault against the main character (she fakes being nearly blackout drunk to trick men into assaulting her, before she ends the act and reads them the riot act), the actual assault of her best friend, or seeing said assault happen and laughing at it and staying friends with the guilty party. Although it could have been easy to fill these roles with nobody actors or even actors known for playing unlikeable men, Fennel and casting directors Lindsay Graham and Mary Vernieu fill those roles with men recognizable as having played “nice guys.” The OC‘s Adam Brody is Cassie’s first target, who is encouraged by Veep‘s only kind of good person, Sam Richardson. Later on we see Superbad’s lovable dork, McLovin (Christopher Mintz-Plasse), forcing a seemingly barely conscious Cassie to do cocaine. The main targets of Cassie’s rage are G.L.O.W.‘s Bash (Chris Lowell) and New Girl‘s Schmidt (Max Greenfield). It’s men whose most recognizable roles are “the nice guys” who would never perpetrate anything as awful as rape culture, and this film weaponizes the hell out of that to suggest that no man is really innocent of any of this. It’s a crushingly pessimistic take, but also one that feels all too rooted in reality. Even after committing these crimes, the future of the men committing them is often considered more than the trauma they put on the woman (look at the bonkers case of Brock Turner, a convicted rapist who was sentenced to six months in jail, and was eventually released after three. And he had to be literally caught in and chased from the act in order to be convicted). It’s a system that makes it nearly impossible to get any kind of justice, let alone deserved justice, for a crime that is all too prevalent and claims too many victims. Which is why there are probably real women like Cassie out there taking justice into their own hands. It’s a bleak thought, but one that feels all too real. There is so much work to do, and it’s up to men to own up and do it.

Available on Video on Demand

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