[Editorial] Top Sci-Fi Horror Of 2020

Science Fiction and horror have always made for good companions and 2020 brought several films which explored the nature of time, bodily autonomy and the scary side of technology. In a year that saw many confined to their homes, the issues of time, space and crucially, scientific advancements loomed large.

From bigger budget, otherworldly works like Underwater, poignant metaphorical explorations of contemporary teen life like Spontaneous to the small-scale identity crisis chiller Minor Premise, as well as meditative, synth-soundtracked probe of sleep in Come True, the combination of horror and sci-fi presented almost endless opportunities to wring scary set pieces from social and cultural anxieties.

The following list is made up of my personal favourites of the year. Given the disruption that 2020 caused for film distribution, some films may be marked officially as 2019, but as they received wider distribution (or are still awaiting release) they have been considered as a 2020 release. Plot details, but not outright spoilers follow.

The Invisible Man

Leigh Whannell’s updated take on the Invisible Man mythology features a breath-taking performance from Elizabeth Moss, supported by numerous proficient technical elements to drive a modern view of a story that has been attempted multiple times. The Invisible Man becomes a villain that we cannot identify with, instead throwing us into the messy aftermath of an abusive relationship and aligning the audience with the victim, rather than the titular character. Even after escaping from ex Adrian (Oliver Jackson-Cohen) in an opening sequence that is artful in the creation of tension and tone, Cecilia (Moss) is unable to rest. Believing that he has faked his death, she remains trapped in a cycle of fear, furthered by his access to technology which means he can still occupy her life in disturbing ways. Clever use of negative space and a palpable nervous energy throughout the runtime make this a masterclass in suspense. Expertly exploring the pain of a woman under threat and the guilt she holds for damage done to those around her, this does not hold back, sliding from themes of gaslighting and paranoia to outright, explosive action sequences. Slickly photographed, The Invisible Man is an excellent example of a successful reimagining of an older story that balances action, tension and social commentary with aplomb.

Synchronic

Increasingly strange events surrounding a new designer drug become personal for paramedics Steve (Anthony Mackie) and Dennis (Jamie Dornan) in this thoughtful take on time travel. Following paramedics, especially considering Steve’s looming health crisis, lends the film a focus on more introspective investigation. The police remain on the outskirts, often unhelpfully disparaging victims and Steve himself at one point, rather than leading or problem solving. This affords the film a sense of being situated in some of the prevailing conversations of 2020, although the fact that the film had been in production for much longer is a sign of just how long it has taken to have discussions on racial justice and police brutality truly enter the mainstream. That sense of the deeply personal and need for compassion and empathy continues as Dennis’ daughter Brianna (Ally Ioannides) goes missing, pulling Steve and Dennis further into the mystery. The time travel segments are incredible, with elements from the past intruding on the present in ethereal fashion at first, becoming more tangible, sometimes in the confines of single-take scenes. These technical elements retain a sense of dynamism even when the film pauses to dwell on the more human and emotional elements. Synchronic also unpacks the kind of rosy nostalgia that other science fiction can engage in, presenting the undeniably scary idea that the past presents more of a threat depending on your identity. While the film itself is likely to leave you with tears in your eyes, setting out the lack of control afforded by the drug within the film also introduces an almost limitless set of scenarios and horrific implications that can linger far beyond the end credits.

She Dies Tomorrow

Turning anxiety into a pandemic likely makes She Dies Tomorrow the perfect 2020 film. An often melancholic, stripped back approach means this will not be for everyone and although some will struggle with the pacing, the focus on atmosphere more than makes up for it. Swapping out big set pieces for brightly lit close-ups of character expressions to show how the existential sense of panic takes hold and retaining a dark, semi-comic tone throughout, She Dies Tomorrow feels like a singular, confident vision. Amy’s (Kate Lynn Sheil) history of erratic behaviour due to addiction and other anxiety issues at first cloud the film as do her friend’s responses to her new preoccupation but as the contagion takes hold all hidden anxieties begin to surface. Director Amy Seimetz has been open about the biographical nature of the film and this personal experience of anxiety certainly shines through. The power of the film comes in allowing the characters to voice these usually unspeakable fears (however logical or illogical they may be). As someone who suffers from anxiety, watching the space given to verbalising these sometimes fleeting, sometimes more pervasive thoughts feels empowering, a calling out of things we would normally keep to ourselves. Jane Adams delivers one of my favourite performances of the year as Jane, whose journey offers a delicate balance of dreamy wistfulness and dark comedy.

Possessor

Themes of bodily autonomy, surveillance and identity collide with violent spectacle in Brandon Cronenberg’s bracing and provocative second feature. Centred on an organisation that carries out high profile assassinations by hijacking the body of someone else, making events look like random attacks or highly personal murder-suicides. Tasya Vos (Andrea Riseborough on career-best form) is one of the assassins employed by the organisation who appears to be losing her grip on reality and is unable to find meaning in her fracturing home life. Her latest assignment, taking over the body of Colin Tate (Christopher Abbot, bringing intensity and vulnerability to his performance) threatens to risk everything as questions over who is really in control come to the fore. The clash of sleek, sophisticated technology and luxury vintage aesthetics give Possessor a distinct and often disquieting look and feel in that it is difficult to place in an exact time. Jennifer Jason Leigh’s chilly turn as shadowy organisation supervisor Girder also deserves plaudits bringing an unsettling intimacy to her and Vos’ interactions. Dan Martin’s effects work is always a mark of quality and Possessor delivers some of the most detailed, gruesome imagery in some time while retaining a sense of beauty and thematic resonance. Possessor is an awe-inspiring, captivating experience that tackles identity crisis, gender roles and the pervasive nature of global businesses within a narrative that is full of some of the most evocative and powerful horror imagery of the last few years.

The Long Walk

Lao filmmaker Mattie Do’s epic, time-spanning blend of science fiction, horror and drama is an absolute triumph that deserves far more attention. As the young boy, Por Silasta handles the frequently very mature and heart-breaking material so gracefully that it is impossible to not be drawn in. The film introduces ghosts in a way that feels very organic, in keeping with the cultural traditions of Lao that are underrepresented in film and there is a duality between the way the film plays with them as tragic figures while also being able to deliver on the more subtle creepy moments that could easily feel clumsy in less capable hands. The nature of time, the intrusion of technology  features too and while this is a lot to take on, the longer runtime allows for a richness and depth for all elements. This is a film that feels meditative and contemplative without losing momentum. It treats its audience with respect, offering little in the way of exposition or explanation, instead planting several visual motifs that guide understanding. The Long Walk is a fully absorbing, emotionally focused view of a journey through time and the influence that humans have upon one another and their surroundings. Occasionally, the lack of hand holding can result in a somewhat cold, distant tone, but the warmth and care taken in cultivating the film’s world and the characters within it make The Long Walk a journey worth taking.

This is just a small selection of the sci-fi horror films that made an impact throughout 2020, offering culturally and socially relevant observations along with well-crafted scares and emotional impact. What were your favourites?

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