Pandemic Movie Year
Here are 50 movies released in 2020 that I was able to watch throughout the year. The pandemic truly shifted our ability to consume entertainment in the usual way. Nine months without the option to go to a theater changes things, but I am grateful for the ones I could see. Below you will find those films, along with a brief description or review. If you want to check out any more of my movie reviews, look at my Letterboxd profile. The following movies are split into categories and rated out of 5 stars.
If you would like to skip to the Best of the Year, click here.
The Laughably Bad
50. Money Plane
This movie stars WWE star Adam Copeland (Edge) and 90s television star Kelsey Grammer. There is a plane that operates as a casino/gambling hub for high-level criminals in the underworld flying over international waters, but also somehow above land. Edge and his team of wily misfits must pull off a heist within the plane to settle their score with a man whose TV Show theme song involved tossed salads and scrambled eggs. Kelsey Grammar plays Darius Emmanuel Grouch III, aka "The Rumble" and he wants his money. I do not think there is anything more to say. This is so bad.
Score: 1/2 star (but really 0)
49. The New Mutants
This has been in production purgatory for years. It was easy to predict poor performance. The New Mutants felt like a bot was forced to watch 1000 hours of X-Men content and all it came up with was this sad, pubescent, horror fanfic.
Rating: 1/2 star
48. Artemis Fowl
Just a truly foul take on a fairly beloved kids series. There is no sense of direction or clear storytelling. It’s yet another mark against Kenneth Branagh as a director, despite his excellent performance in a movie much higher on this list, it is hard to overlook.
Artemis Fowl struggles to ever get off the ground; it may even dig below ground.
Rating: 1/2 star
47. Fantasy Island
Rating: 1/2 star
not what you like to see
46. The lie
This movie made me so mad. Joey King continues to cash those Blumhouse checks, but why is she still playing young teenagers moving into her twenties? This movie has such an unearned fake out that the whole movie feels meaningless. Framing this as a horror release in October when it’s barely even a suspenseful drama really hinders the plot points from having an impact at all.
Rating: 1 star
45. scoob!
Who is this movie for? The jokes were for someone entering middle age in the early-mid 2000s. Nothing fits together. Everyone loves Scooby-Doo, so why the attempt to make this a superhero team-up movie? There are so many unnecessary choices that take away from the charm of a conventional Scooby-Doo mystery. The 2002 live action movie is better than this.
Rating: 1 star
44. ava
Rating: 1.5 stars
Mediocrity is king
43. Run
I do not and will never understand the fascination everyone has with Sarah Paulson. This is a perfectly fine movie, predictable, and fun enough to get through.
Rating: 2 stars
42. Swallow
An interesting study of conformity to gender roles in upper class life. Haley Bennett, as Hunter, provides a compelling performance, but the movie falls apart for me in the last half hour as she begins to lose her marbles.
Rating: 2 stars
41. The secrets we keep
Rating: 2 stars
40. Capone
Tom Hardy’s take on gangster Al Capone as he suffers near the end of his life is completely unhinged. This belongs right alongside his takes on Bane, Max Rockatansky, and Farrier. Hardy seems to struggle with finding a way to talk in a normal voice. Let’s just say that some of these work better than others.
Rating: 2 stars
39. The One and Only Ivan
Rating: 2 stars
38. Hubie Halloween
Objectively, this is probably an even worse movie than this position signifies. However, there is something about Adam Sandler that always makes me laugh. I don’t think I’m alone since Netflix signed him to a $275 million 4 movie deal. I really enjoyed bringing the Happy Gilmore group back together with Julie Bowen and a cameo from Ben Stiller. I laughed. I had enough of a good time to enjoy it.
Rating: 2 stars
37. The devil all the time
The Devil All The Time provides a depraved, nihilistic take on generational sin and trauma. Normally, I’m interested in humorous (The Big Lebowski), dread-filled (Synecdoche, New York), or savage (Se7en—Read Roger Ebert’s Review) explorations of nihilism, but this just frankly should not have been a movie. Despite its loaded cast, there are too many cooks in the kitchen. It would’ve been easier to flesh out the characters in a mini-series. Tom Holland turns in a performance against type, in preparation for the upcoming realease Cherry, which shows a lot of promise for a career beyond your friendly, neighborhood Spider-Man. I’m also curious where the talented Eliza Scanlen (Sharp Objects) and Riley Keough (It Comes at Night) go next. There was a lot of potential here, but it was spread too thin. Ultimately, The Devil All The Time barked and bit at mostly nothing but itself.
However, it does feature this:
Rating: 2 stars
36. Hillbilly Elegy
Similar to The Devil All The Time, Hillbilly Elegy had high hopes due to its cast. However, this movie, though clearly a deeply personal and real story, felt inauthentic due to its awards aspirations. The performances felt like they were trying to win awards rather that tell the gut wrenching story of JD Vance’s actual life. I do not hate this movie, like many critics, because I think there was a good movie possible with what they have. The flashback sequences were jumbled together and the writing fell flat. It felt like they had all of the right pieces to the puzzle, but decided to put it together wrong on purpose.
P.S. I hope Glenn Close and Amy Adams get their Oscars as much as anyone, just not for this.
Rating: 2 stars
35. Bloodshot
Vin Diesel continues to do Vin Diesel things. It was nice to see Guy Pearce. I’ll give Bloodshot some credit for its twist, which I won’t spoil, but overall this movie thinks it’s a lot smarter than it is. It feels like an ode to much earlier superhero movies that didn’t have much to say and weren’t as large scale as the MCU and DCEU movies of the current moment.
I still prefer to see Vin with his Fast and Furious family.
Rating: 2 stars
34. Wonder Woman 1984
Most of these reviews are written moments after the credits roll. I tend to write with a gut reaction, but I decided to sleep on this one. I didn’t know what to say, probably because it left me with so many questions. Why did Chris Pine come back in another man’s body? Why did so many characters make the decisions they made? Why did a movie set in the 80s look like it had a brown filter over it the whole time? It needed more color. It needed more life. I thought the first hour or so was really good. Gal Gadot is truly a fantastic Wonder Woman and I like her chemistry with Chris Pine, but her arc of loving him was the same as the first movie. I really liked the first movie and this one feels like a retread. I am not going to address Kristen Wiig turning into a cat. The CGI gets progressively worse as we trudge through the 155 minute runtime and Pedro Pascal’s “The Art of the Deal” Trump impression was just too much for me. I don’t think every movie has to comment on the current climate to be relevant. Overall, the campiness of this movie worked well and is a welcome change from the darkness found in most DCU films, but Wonder Woman’s lasso couldn’t pull me into the story enough.
Rating: 2 stars
33. onward
A lackluster Pixar effort that is probably hindered by the fact that I am an only child. Onward is heartwarming and creative with Pixar’s normal flare, but it comes up short of their recent run of new releases like Coco and Inside Out that aren’t following in the footsteps of pre-existing intellectual property. Tom Holland and Chris Pratt are a lot of fun, but they were not enough to push this one over the hump for me.
Rating: 2.5 stars
The Fun and The Worth Seeing
32. Rebecca
Rebecca is an unnecessary reboot of Alfred Hitchcock’s lone best picture winner. Lacking some of the magic of Hitchcock’s filmmaking, this version seeks to distance itself from the original by dubbing it another take on the Daphne du Maurier novel instead. The Netflix glossy sheen can make Manderly feel like a dream, but doesn’t match the inner turmoil that should be occurring within the new Mrs. De Winter, played by the plucky Lily James, opposite her husband, Armie Hammer. Kristin Scott Thomas is unsurprisingly the best part of this classic tale. Rebecca fails to climb the mountain of its 1940 counterpart, but is well worth checking out for the minor differences.
Rating: 3 stars
31. Freaky
Rating: 3 stars
30. Birds of Prey (and the Fantabulous of One Harley Quinn)
Birds of Prey suffers from how good Margot Robbie’s acting continues to be. She dominates the screen when the bit players could have used more time to shine. Mary Elizabeth Winstead and Chris Messina really should’ve been given more to do in particular. I really enjoyed their characters. The majority of this film is spent getting the team together and the team was fun but didn’t get enough time to mesh. Perhaps the most important aspect of Birds of Prey is that it features quite possibly the greatest looking egg sandwich of all time.
Rating: 3 stars
29. The Old Guard
Charlize Theron cements her place as the greatest female action star by building on her excellent portrayal of Imperator Furiosa in the critically acclaimed Mad Max: Fury Road and her gritty performance in Atomic Blonde. The Old Guard attempts to create an action franchise for Netflix to build on. With interesting mythology and a breakout performance from Kiki Layne, known for her much softer performance in If Beale Street Could Talk, there is potential for some expanded world-building. The Old Guard is a solid, middle of the road action flick with big enough stars to push it slightly above average.
Rating: 3.5 stars
28. Hamilton
Hamilton is a good time. It’s hard to capture a Broadway production while creating a cinematic experience. I wouldn’t say that Hamilton succeeds in this completely, but the music and performances from Daveed Diggs, Christopher Jackson, Leslie Odom Jr., and a comedic turn from Mindhunter’s Jonathan Groff are all fantastic. The nearly 3-hour runtime flies by and is well worth the watch.
Rating: 3.5 stars
27. Extraction
Rating: 3.5 stars
26. The wolf of snow hollow
This is Jim Cummings’s second feature as writer, director, and star following up 2018’s Thunder Road. This is a rare movie that really should’ve been longer coming in at just 83 minutes. This is a pretty dry horror-comedy that has enough to keep you entertained over its runtime. It is the last appearance for the late Robert Forster, playing Jim Cummings’s, John, father and town sheriff. However, I could not take a movie with Jimmy Tatro super seriously. Cummings shines in a similar performance to his cop in Thunder Road.
Rating: 3.5 stars
25. Save Yourselves!
What would happen if you dropped two millennials from Brooklyn in upstate New York without their phones or any technology in the middle of an alien attack? How would they react? Would they survive? That’s the premise for this probably barely watched movie starring Sunita Mani and John Reynolds. A creative choice to use some fluffy looking aliens as well.
Rating: 3.5 stars
24. Emma
Vanity. Arrogance. Love.
Anya Taylor-Joy redeems herself from the dullness of The New Mutants in this quirky, British romantic comedy. Based on Jane Austen’s novel and a reimagining of the 1996 release, starring Gwyneth Paltrow, this rendition effectively continues the lineage of Emma productions with a fun, yet dry comedic style. I would argue that this version is decidedly more British and thus worked more for me than the 1996 feature. Beautifully shot, yet a little hard to follow in some places, this retelling is well worth seeing.
Rating: 3.5
23. Enola holmes
We’re a bit oversaturated with Sherlock Holmes content this century, but this is slightly more fun and different exploration of the beloved stories of Sherlock Holmes through lens of his sister Enola, portrayed by Millie Bobby Brown. Henry Cavill gives a valiant effort as Sherlock, but definitely pales in comparison to Robert Downey Jr. and Benedict Cumberbatch. Overall, this was a lot of fun and a better effort, in my opinion, at gender flipping some classic stories. Netflix may have found themselves a little franchise with some big potential.
Rating: 3.5 stars
22. The Invisible Man
I enjoyed The Invisible Man. There is a lot to like about it. Elizabeth Moss is incredible, the camerawork acts as an additional character, and it has a solid amount of twists and shocks (the restaurant scene in particular). However, something about the last stretch just didn’t feel like it fit with the rest of the movie. I look forward to seeing what Leigh Whannell does next. He is on a little bit of a role after this and Upgrade, which is probably the most underrated movie of 2018.
Rating 3.5 stars
21. The trial of the chicago 7
Aaron Sorkin writing and directing a courtroom drama?
In all honesty, the writer of A Few Good Men brings his snappy dialogue to a colorful cast of characters outlining a trial in the late 60s that feels like it could be happening live. This movie was good, but something about the tone of the dialogue and the weight of the subject matter did not mesh for me. I felt like intercutting some joking behavior along side found footage from the actual events took away from the power of the statements being made. However, I will always enjoy a good courtroom drama and few can deliver that rush quite like Sorkin, even if this should’ve been a stage play.
Rating: 3.5 stars
20. The Way Back
Ben Affleck’s melding of real-life struggle with this fictional representation of a basketball coach is as moving as Gavin O’Connor’s other takes on the male sports emotional drama. It doesn’t reach the heights of 2011’s Warrior, but the meta aspects of the story elevate the weaker areas to produce a solid drama.
Rating: 3.5 stars
way Better Than They Should Be
19. The Vast of Night
Rating: 4 stars
18. Bad boys for life
Bad boys, bad boys
Whatcha gonna do, whatcha gonna do
When they come for you
This movie should not be good, but it still builds on the humor and charm of the earlier installments. Will Smith and Martin Lawrence reprise their roles as Mike Lowrey and Marcus Bennett in the vain of Danny Glover’s too old and over it mentality in the Lethal Weapon franchise. However, they’ve definitely still got it.
Rating: 4 stars
17. Soul
Soul is not a children’s movie, despite its humor, childlike animation, and Pixar’s typical charming resolution. It’s not a kid’s movie primarily because of itss subject matter which dives into the depths of the unknown. It chooses to steer our ship into both the afterlife and the “before” life in an attempt to explain the purpose of life and it is for that reason that I love this movie and feel as though it falls just short of its goal. The performances are fantastic and the animation is breathtaking. That craft is why it is so far up this list. However, its inability to land a gut punch moment in the vain of Pixar’s predecessors left me wanting more. It left me wanting more because they chose to make such a philosophical, spiritual film without wrestling with some of the harder aspects of life. Another movie farther up this list landed that better for me and if I’d seen Soul first I might have felt differently, but for now Soul is the kid’s movie version of handling and shooing away the hard questions of life.
Rating: 4 stars
16. Ma rainey’s black bottom
Rating: 4 stars
15. Driveways
For me, this is one of the most heartwarming movies of the year. It’s a quaint story about friendship starring Brian Dennehy is one of his final screen performances. If you’re looking for a nice movie, with some hope in this trying times, I can’t recommend this enough.
Rating: 4 stars
14. Possessor
I won’t get into plot details, because it is very hard to explain, but Possessor is messed up. This is a visceral, bloody, and in many ways, excruciating film. However, following in his father’s footsteps, Brandon Cronenberg is carving out a path as a talented filmmaker. Andrea Riseborough and Christopher Abbott are truly incredible talents. This one is a squirmer and definitely not for everyone. I can’t even tell you if I liked it, but the practical effects were fantastic.
Rating: 4 stars
13. nomadland
Nomadland is a character study on grief and finding purpose in a life that no longer feels like your own. Frances McDormand is truly one of the greats and I could recognize Ludovico Einaudi’s music anywhere. His score adds a level of beauty that truly magnifies the vastness of the scenary explored by McDormand’s Fern and her van, Vanguard. Sometimes life feels inevitable. Nomadland is a moving character study that juxtaposes the vastness of our unexplored physical surroundings with our unwillingness to delve into the depths of pain in our own lives. Nomadland is a beautiful film.
Rating: 4 stars
12. Da 5 Bloods
Between Da 5 Bloods and 2018’s BlacKkKlansman, I think it’s safe to say that Spike Lee has returned to form. Overextending itself a little to tackle its many themes, there is enough heart, pain, and adventure to propel this to great heights. Plus, Delroy Lindo gives one of the few Oscar-worthy bids of the year. His monologue while walking through the difficult Vietnam terrain, is blunt and breathtaking. Jonathan Majors also continues to build an impressive resume ahead of his entrance into the MCU.
Spike Lee continues to relentlessly mine the depths of trauma and its impacts on people in the country. While not reaching the heights of masterpieces exploring racial tensions like Do The Right Thing or the impacts of 9/11 in 25th Hour, Da 5 Bloods grapples with some generational trauma along with the effects of Vietnam in an unconventional fashion to bring home another Spike Lee gem.
Rating: 4 stars
11. The Gentlemen
Guy Ritchie’s raucous, raunchy return to his gangster roots after his much maligned King Arthur: Legend of the Sword and financially successful Aladin brings a fresh gust of air into the director’s sails. Matthew McConaughey and Charlie Hunnam provide a good base with Colin Farrell, Hugh Grant, and Downton Abbey’s Michelle Dockery filling in the gaps. Jeremy Strong is clearly headed for big things between this, Succession, and The Trial of the Chicago 7. Hunnam and Farrell really shine throughout. This isn’t Ritchie’s strongest effort, but it’s a lot of fun.
Rating: 4 stars
10. Palm Springs
I will never not think Andy Samberg is funny. Palm Springs takes Groundhog Day and turns it on its head. The “stuck in one day” movie has run out of runway in recent years, but this was a lot of fun. Cristin Milioti is very charming and her chemistry with Samberg keeps this one from going off the rails. J.K. Simmons brings some extra flare that I won’t spoil.
Rating: 4 stars
The best of the year
9. Boys State
Boys State is a perfect encapsulation of our current political climate. This biting political commentary by way teenagers finding their way in the world is gripping, tense, and heartfelt. More than anything, I feel that Boys State illustrates that the fears and insecurities we face in our teenage years continue to be those that we face moving forward into adulthood.
Following four boys as they compete in Texas Boys State, Steven emerges as a leader whom, I believe, we all could listen to right now. This is partly due to his propensity to listen and the passion that dwells in his heart. We all want to be heard and we all want to believe in someone, to a point. Boys State helps us to understand how and why trust matters. However, those who can be trusted most rarely win.
Rating: 4.5 stars
8. Undine
“maybe my heart did skip a beat
but then it started beating again under your hand”
Undine is Christian Petzold’s forray into the mythical by melding it together with reality to tell a story of elegance and tragedy. No one understands the desperation of love quite like Petzlold. The performances carry this one, as Paula Beer and Franz Rogowski really deliver. I learned more about Berlin architecture than I thought I ever would and had a good time doing it. The folklore intertwined with the past and present feels very modern and projects a sense of place and purpose. There are images here that will stick in my mind for years to come.
Rating: 4.5 stars
7. First Cow
First Cow is an example of expert storytelling. It has symmetry, adventure, and somehow manages to make milking a cow feel like a tense bank heist. I can’t remember seeing John Magaro or Orion Lee in a movie before this, but they are magnificent as Cookie and King Lu. Perhaps most important, Cookie’s oily cakes (pictured below) are one of the great foods created on screen. Between the performances and the writing, Kelly Reichardt may have another masterpiece under her belt.
Rating: 4.5 stars
6. Tenet
This is Christopher Nolan’s Bond movie. I followed this pretty well, despite the poor sound mixing. He still struggles to write female characters, but I was mesmerized by the action. For some reason, I’m able to look past a lot of aspects of Nolan’s movies that probably don’t work, but for me, it doesn’t matter. Also, this was my first venture back into theaters in the COVID-19 era so there’s an added layer of sentimentality.
John David Washington, Robert Pattinson, and Elizabeth Debicki all bring great performances. I would love Washington to get his own spy franchise, not necessarily a sequel to this, but something that allows the former college athlete to show off his action prowess. Washington and Pattinson bring some solid buddy cop energy to the table, but not quite the sarcasm duel found in movies like Tango & Cash. Overall, this was a lot of fun, well made, and allowed Christopher Nolan to reassert his dominance as the king of action set pieces.
Exhibit A:
Exhibit B:
I could go on, but I hope you get the point.
P.S. The score in this movie is the most propulsive thing I have ever heard.
Rating: 4.5 stars
5. Minari
Minari is probably the most tender movie of the year. I was able to see this A24 release as a part of the Hamptons International Film Festival virtual screenings. Minari is an autobiographical drama from Lee Isaac Chung that looks at a Korean-American family starting a farm in the midst of the Reagan-era optimism of the 1980s. The Arkansas terrain provides a dreamlike beauty contrasting the physical and emotional turmoil experienced within this family.
Minari is a film of memories. It is about growing up and trying to survive in a world you don’t recognize. From young David realizing that he’s stronger than he’s been told to a wily grandmother who arrives like a tornado to a couple trying to save one another and their marriage, this heartfelt story taps into a very particular stress found in humanity. All of the performances were truly fantastic, especially Steven Yeun, Will Patton, and Youn Yuh-jung.
I found Minari to be both beautiful and fulfilling.
Rating: 4.5 stars
4. I’m Thinking of Ending Things
I honestly don’t know what to say about this. I’m Thinking of Ending Things is not a movie for everyone. It’s also not new territory for Charlie Kaufmann, known for Eternal Sunshine of the Spotless Mind, Being John Malkovich, and Synecdoche, New York. However, his ability to tap into our yearning for meaning and the inevitable existential dread associated with this pursuit strikes a chord with my penchant for philosophical discussion and intense wrestling. I want to be careful not to spoil this masterful, yet exceptionally convuluted and confusing plot. Jessie Buckley (Chernobyl) and Jesse Plemmons (Friday Night Lights) are exceptional and their talents are on display here both through bombast and restraint.
“Everything has to die. That’s the truth. One likes to think that there is always hope. That you can live above death. And it’s a uniquely human fantasy that things will get better, born perhaps of the uniquely human understanding that things will not. There’s no way to know for certain. But I suspect humans are the only animals that know the inevitability of their own deaths. Other animals live in the present. Humans cannot, so they invented hope.”
The tensions within this movie tap into inherently human feelings, thoughts, and emotions. We all want to be loved. We all want to feel that our life matters and meaning can come from work, love, or beauty in this world. It’s hard to beleive that someone with this much success would write something with such a bleak point of view. However, it is only on the mountaintop that one may see that which lies beneath and I’m Thinking of Ending Things is that valley. It is the depths of sorrow that can only be found in the machinations of the human mind and the what-ifs bouncing around in that darkness. Maybe hope is futile in the mind of Kaufman or his characters, but I disagree.
Rating: 4.5 stars
3. Mank
Mank was my most anticipated movie of 2020. David Fincher is probably my favorite active director. He has the ability to create incredibly provocative images that continue to last in my mind. From Se7en to The Social Network, I find myself interested in the depths of darkness that inhabit or plague his characters. Fincher famously said, “People will say, 'There are a million ways to shoot a scene,' but I don't think so. I think there are two, maybe. And the other one is wrong.” His attention to detail and exploration of obsession are hallmarks of his style. However, Mank offers a different critique and this one is far more personal.
Fincher’s father wrote the script for Mank and, in many ways, Fincher chooses to honor screenwriters, their ideas, and critique those who choose to lord their power over them. In addition, it is hard to look past how much Fincher’s depiction of Orsen Welles looks like Fincher, himself. I think this is a critique of his own perfectionism and the credit directors seek to take over the projects that become totems of their own identity. Mank is good on almost every level. The cast is brilliant, led by outstanding performances from Gary Oldman, Amanda Seyfried, and Lily Collins, the cinematography is stunning, and the writing is filled with snappy dialogue. Ultimately, Mank is another feather in Fincher’s cap. It seeks to be less of a historical document arguing about the ownership of the great Citizen Kane and more of a text with which to critique Old Hollywood’s power dynamics and offer a love story for those attempting to creatively craft counter-cultural narratives, particularly a father.
Rating: 4.5 stars
2. Sound of metal
“I wonder, uh, all these mornings you’ve been sitting in my study, sitting, have you had any moments of stillness? Because you’re right, Ruben. The world does keep moving, and it can be a damn cruel place. But for me, those moments of stillness, that place, that’s the kingdom of God.”
Riz Ahmed delivers an outstanding performance as heavy metal drummer coming to grips with losing his hearing, and as a result his identity. This former addict’s reckoning with who he truly is transcends almost anything I have watched this year. In a year where we have focused on so much of what we’ve lost, we cannot lose sight of what there is to gain in the absence. Sound of Metal takes Soul and throws it into the real world showing how a loss of opportunity, purpose, and value shakes our being to the core. We may fight and scrap to get back to where we were or who we were before certain life tragedies, but that is an unattainable mission. Sometimes a moment of stillness in the chaos can do more for the soul than we could ever imagine.
I love this movie.
Rating: 5 stars
1. Dick johnson is dead
I’ve watched around 500 movies over the last two years. It’s a staggering number and many people may wonder why I have wasted so much time in lands apart from reality. My answer to why would in part be because I have been able to see movies like this. I firmly believe there is nothing more powerful, more interesting than real life.
Dick Johnson is Dead chronicles the final years of a man, Dick Johnson, battling dementia from the perspective of his daughter, filmmaker Kirsten Johnson. I go to the movies to feel because sometimes I struggle to grapple with my emotions. I go to the movies to understand life, because sometimes I’m tired of trying to understand. There are few movies that have made me feel as much as this. Maybe it is because of my deep relationship with both of my parents or maybe because loss is seared deep into our very being, but Dick Johnson is Dead taps into the depths of the soul, into our humanity and the inevitability of life.
I think this year has taught us a lot about mourning, about death, about our fears and helplessness, but there is something hopeful about living life, together in the face of these sometimes unexplainable hard times. Through Dick Johnson, I was able to see a loving father and a loving daughter experience life together in the midst of crisis. There are tears of joy, gratitude, and sadness in this life and those tears are always worth it in the connections they create between us and those we love.
Rating: 5 stars