Okay, I'm gonna list 20 of my favorite first-time movie viewings of 2020 (excluding new releases) -- new-to-me movies that I loved, from the masterful to the goofy. I could list 100 titles or more, but I'll keep it to 20.

1. SUPERNATURAL (1933). The Halperin Brothers' glossy studio successor to their indie triumph 'White Zombie' is an unsung masterpiece from the early 1930s heyday of 'classic' horror that seems especially urgent and fresh in the #MeToo era. Program it with 'Promising Young Woman.'

2. MY BROTHER'S WEDDING (1983). Charles Burnett’s second feature after his epochal 'Killer of Sheep' is another, yup, masterpiece: Very different, but retains its predecessor’s sense of exasperation and affection - and is often laugh-out-loud funny.

3. DESERT FURY (1947). “Couple more minutes we’ll be blowing the suds off some nice long cold ones." Those are the first words spoken in Lewis Allen’s Technicolor noir, with gangsters Wendell Corey and John Hodiak presented time after time in the frame as, unmistakably, a couple.

4. ASSIGNMENT: TERROR (1970): Michael Rennie as the anti-Klaatu: an alien who revives a mummy, vampire, Frankensteinesque monster and werewolf to conquer Earth. Silly, but so what? No-budget Eurohorror with mindblowing color and design. The new @ScorpionDVD Blu is a revelation.

5. SEMINOLE (1953): Rock Hudson in a sort of Everglades ‘Fort Apache,’ from director Budd Boetticher.

6. CAIRO STATION (1958): Netflix is generally hostile to older movies, but the service suddenly dropped a bunch of films by Egyptian master Youssef Chahine, including this vivid ‘Grand Hotel’-esque mix of melodrama, politics, documentary detail and freewheeling sexual frankness.

7. THE NUN (1966). The late great Anna Karina takes the vows, inevitably unhappily, in this cinematic stations of the cross from Jacques Rivette.

8. BIG CITY BLUES (1932). The opening credits of Mervyn LeRoy's knockout present her as a muse or demiurge materializing out of the very noise and music of the city, as modern and indomitable as a skyscraper: Who better to embody the precode metropolis than Joan Blondell?

9. SHOW THEM NO MERCY! (1935). Gangsters terrorize a young couple taking shelter in a country home in George Marshall's shocker, as tough and direct as its title.

10. LA LOBA (1965). A female werewolf - complete with long blond hair and floppy dog tail - rises from a tomb, bounds like a gymnast, and kills 3 people before the first dialog-free 10 minutes are up. Rafael Baledon directed this gory and atmospheric high mark in Mexican horror.

11. JU DOU (1990). The work of the ‘Fifth Generation’ of Chinese filmmakers seems to have fallen out of favor, but Zhang Yimou’s tragedy of an unhappy wife (Gong Li) in a fabric-dying facility is a work of hypnotizing beauty and lacerating heartbreak.

12. COSH BOY (1953). Future 007 helmer Lewis Gilbert directed this Brit social-problem caution that ultimately endorses a what-this-lad-needs-is-a-good-thrashing response to juvenile delinquency. Released in America with a more Yank-friendly exploitation title: 'The Slasher.'

13. VIRUS (1980). Insist on the uncut 156-minute Japanese-release version of Kinji Fukasaku's politically charged Apocalypse Soon, which begins with a deadly influenza and ends with a nuclear exchange.

14. CANYON PASSAGE (1946). Loyalty, betrayal, and Hoagy Carmichael introducing "Ole Buttermilk Sky." A melancholy Western from Jacques Tourneur; emotions as deep and mysterious as the Oregon old forest in which murder occurs.

15. TOP OF THE HEAP (1972). The story of a fantasizing Black cop in a racist America whose self-loathing rises in conjunction with the surging disrespect of everyone around him. Debuting writer-director-producer-star Christopher St. John never made a second feature.

16. CITY OF FEAR (1959). Does any movie protagonist experience a bleaker, more humiliating arc than Vince Edwards in this year-later radioactive-contagion reunion with his 'Murder by Contract' director, Irving Lerner? It’s Malcolm Lowery/Jim Thompson-level bleak.

17. EXORCISMO NEGRO (1974). The talented and extremely taloned Brazilian horror auteur Jose Mojica Marins, aka "Coffin Joe," stars as himself in this playful addition to his surreal, sacrilegious, self-absorbed, and misogynistic filmography. (Marins, 83, died 2/19.)

18. WORKING GIRLS (1931). Dorothy Arzner’s pre-code delight treats its lead (Dorothy Hall and Judith Wood, cast as supportive sisters) without illusion or condescension.

19. WICKED WOMAN (1953). "Runt! Runt! Runt! You're nothing but a repulsive little runt and if you don't keep out of my hair, I'm gonna step on you like a bug!" Sleazy Percy Helton and floozy Beverly Michaels are an unforgettable pair in Russell Rouse's rediscovered noir.

20. ASH IS PUREST WHITE (2018). Crime and love and transportation and immobility in 21st-century China. Directed by Jia Zhangke.

Like I said, I could keep going forever. I didn't even mention THE SCARF, LOULOU, HAWK THE SLAYER, LADRON DE CADAVERES, PASSPORT TO SHAME, VIOLETTE NOZIERE, SO DARK THE NIGHT, DIAL: HELP and on and on and on...