The first great film of 2020 creeps up on you gradually in the most unexpected way. “Summerland” is the feature film debut of Jessica Swale, who also wrote the original screenplay.

Dave Franco, the younger of the Franco brothers, has now thrown his hat into the director’s ring, like older sibling James (“The Disaster Artist”).

Australian film “Dirt Music” propels supporting actress Kelly MacDonald (“No Country For Old Men,” “Goodbye Christopher Robin”) into her first leading role.

If you are familiar with Kelly Reichardt’s work, you know never to watch her films late at night or when you are tired. “Certain Women” or “Meek’s Cutoff” are extremely quiet films and indulgent with running time.

Film critic turned director Rod Lurie’s latest film, “The Outpost,” is based on CNN Reporter Jake Tapper’s book by the same name.

Comedian and former talk show host Jon Stewart’s sophomore film, “Irresistible,” is a far cry from his 2014 directorial debut, “Rosewater.”

“Jurassic Park” and “Panic Room” are two scripts penned by David Koepp that stand out in a dedicated screenwriting career. Koepp’s directing credits, however, include some of the worst movies most have had the displeasure to experience (or review).

With most feature films still holding onto hope for a theatrical release, “7500” will likely be the most suspenseful and edge-of-your-couch thriller of 2020.

“Shirley” is an unsettling biography focused on the reclusive American writer Shirley Jackson.

“End of Sentence” marks the return of Logan Lerman, who can later be seen in the Sundance breakout “Shirley.” He flexes his dramatic muscle more in this performance, literally, boasting a more muscular physique, tattoos and a bad boy persona unseen in his previous work.

The real star here is the landscape and the way the cinematographer shows us perspective views, the clear water and the iconic architecture.

Finally, a somewhat uplifting video-on-demand release for the stay homers who are desperate for new feature film content.

Another film that came and went from at last year’s Toronto International Film Festival that is finding its way to a wider audience thanks to the pandemic is “Hope Gap.”

Pink Power Ranger turned filmmaker Amy Jo Johnson makes her feature film directorial debut with Canadian production “Tammy’s Always Dying.”

In the time of COVID-19, even film critics have to look at movies and entertainment differently. Not only has new content been scarce, but anything that provides a few hours of distraction is likely to find less scrutiny.