Top 10 of 2019
Honorable mentions: "Ford v Ferrari," "Toy Story 4," "Official Secrets," "Parasite," "Hotel Mumbai," and "Dark Waters."
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- DirectorSam MendesStarsDean-Charles ChapmanGeorge MacKayDaniel MaysApril 6th, 1917. As an infantry battalion assembles to wage war deep in enemy territory, two soldiers are assigned to race against time and deliver a message that will stop 1,600 men from walking straight into a deadly trap.When I first saw "1917," I couldn't get over how much I loved it. Seriously, best movie of 2019, hands down. Every element that goes into making a "masterpiece" of a film is contained here, even if certain things stand out more than others. The widely discussed "one shot" gimmick of this movie obviously takes the cake, as this war epic is filmed as if it were made in one (really, two) long takes where the camera never cuts. We saw this only a few years ago with the captivating (and Oscar winning) "Birdman" (2014), and Sam Mendes has simply improved upon the overall technique of that film. I can't even call it a gimmick anymore because the idea of a "one shot" movie works perfectly for "1917." War is all-encompassing, non-stop, and you have to treasure the quiet moments you get when they rarely arrive - and nothing illustrates this better than the constant camera following and panning around our protagonists. While there isn't much of a script for a movie like this, the visual storytelling is strong enough that you don't need any strong speeches or brilliant one-liners (though there are a few for humor's sake). The archaic brutality of World War I is on full display, touching upon crude military barracks, hot-headed decision-making, and even the lack of knowledge surrounding PTSD and shell-shocked soldiers. The musical score (Thomas Newman, it's time to get your #Oscar) is not only thrilling and triumphant as any war movie soundtrack should be, but it's also functional for the story, warning us right before an explosion or attack happens. George MacKay, who was delightful as the awkward 20-something in "Captain Fantastic," is phenomenal in this movie's dramatic role. He balances the emotional and highly physical acting flawlessly - there is a lot of moving around in this film that I don't think stunt doubles were responsible for. With all the above in mind, I recommend going to see "1917" on the biggest screen you can find. I've seen almost 1,000 films in my 25 years of living, and I can safely say that I've seen nothing remotely as good as this movie in a very, very long time.
- DirectorJames GrayStarsBrad PittTommy Lee JonesRuth NeggaAstronaut Roy McBride undertakes a mission across an unforgiving solar system to uncover the truth about his missing father and his doomed expedition that now, 30 years later, threatens the universe.Now THIS is how you do outer space cinema. In fact, this is also how you do slow cinema. Granted, I loved "Gravity," "Interstellar," "First Man," and most of "The Martian." Not one of those movies sucked. However, "Ad Astra" takes the best parts of all those movies (and then some) and stitches them together in a well-woven allegory about dysfunctional father-son relationships. It touches upon how we treat each other as fellow humans, the importance of emotions and feelings, and is even a cautionary tale that reminds us of our individual limits and mistakes. As with most space travel movies, it's jam-packed with material, but because of its exquisite pacing and dedication to the subject matters, it never feels long or falls off the rails. Granted, yes, it's a slow moving movie, which is an all-too-common trend in film today, but "Ad Astra" makes every frame count. It's expertly filmed - as if every swooping zero gravity scene was essentially the spectacular moon landing scene from last year's "First Man." From the opening to the end, this movie's cinematography is breathtaking, and I recommend seeing it on the biggest screen you can find. Brad Pitt elevates the material through a "new level" sort of performance. Though I've always liked Pitt for his humor, here he is the stoic, emotionless astronaut who's hiding just enough under the surface to appear helpless. He nails the role of a man who has spent his life hiding his feelings in order to do his job (another theme to touch on!). And despite the slow pace, "Ad Astra" ends with an uplifting message of hope and well-being in a social world. This movie redirects our focus to self-discovery and still manages to entertain AND be original.
- DirectorTaika WaititiStarsRoman Griffin DavisThomasin McKenzieScarlett JohanssonA young German boy in the Hitler Youth whose hero and imaginary friend is the country's dictator is shocked to discover that his mother is hiding a Jewish girl in their home.It’s so refreshing to know that good, poignant satire is perfectly alive and well despite the sort of “cancel culture” we live in. And it’s even more satisfying to know that some of Hollywood’s most liberal and “woke” celebrities participated in this brilliant work. "Jojo Rabbit" is biting and even shocking at times, but its unapologetic nature makes it a smooth ride. Not only does it address the hatred lying at the heart of Nazism, but it humorously counters it by reminding us how freeing it is to see people as people. Centering on a young boy named Jojo (Roman Griffin Davis) who’s desperately trying to succeed as a member of Hitler Youth at the tail end of WWII, “Jojo Rabbit” is about the innocent mindsets of children – how they’re easily indoctrinated into an ideology, but are smart enough to break out when they need to address what’s really at stake. The kids represent something very true: they don’t want to be Nazis. They want to be accepted. One of the children even brings this theme beautifully home when his best friend professes his love for a Jewish girl, and he replies that the war ending is most important; it doesn’t matter who you want to date. The script is awesome in every respect: it balances the sad, serious reality of Nazism with outrageous and quite original jokes about Nazism and Adolf Hitler. And even when things get extra dramatic, the movie circles back to remind us that it’s a satire. Certain things are wholly necessary for character development, which exists perfectly well in this comedy. Taika Waititi is a master both in front of and behind the camera. Not only did he direct this film to perfection, but he owned the most memorable role of the film: Hitler himself. Well, Hitler as Jojo’s imaginary friend. As the figment of a child’s imagination, Waititi’s exaggerated, flamboyant portrayal of the tyrant is absolute comedy gold. And he’s not the only scene-stealer though. Scarlett Johansson holds her own as the stereotypical, strong-willed German mother (of Jojo), but soon peels back the layers to be a character of great intelligence and wit. It’s absolutely stellar work on her part. Sam Rockwell and Rebel Wilson both have their shining moments as well (nice to not see Wilson as just a one-joke punching bag), and newcomer Roman Griffin Davis is fantastic in his first-ever acting role. Zany cinematography, bright colors, and astute camera angles brought us further and further into this wacky world, and even in the sad or emotional moments, we’re not disengaged. Using the German-dubbed versions of popular songs (most notably from The Beatles and David Bowie) was a wonderful touch to the comedy, and their deliveries guarantee you a wide smile. Bold and unapologetic, “Jojo Rabbit” is the satire that not only allows us to laugh at a failed ideology, but inspires us to see people as people and change ourselves in only the innocent ways a child can.
- DirectorTodd PhillipsStarsJoaquin PhoenixRobert De NiroZazie BeetzDuring the 1980s, a failed stand-up comedian is driven insane and turns to a life of crime and chaos in Gotham City while becoming an infamous psychopathic crime figure.If I hadn't graduated and was still writing my thesis about mental health in film, I would be annoying my advisor to no end trying to include "Joker." Every problem in today's society is represented in this gritty, disturbing movie. And I mean that as a compliment. Though most people will have seen some idea, sequence, or line of "Joker" in some other movie or TV show about mental illness, everything is brought together in this terrifying tale of social rebellion and the carelessness of those "on top." It's a both/and situation: Arthur's actions are never justified, but his plight is real: why won't anyone listen to him? "Joker" boils down to how we treat each other as humans and how monsters are often created by society; every horrible scenario in this movie is something we've seen in the news. It analyzes the worst consequences of marginalizing people who are already marginalized enough. Everything literally becomes a joke. I believe Joaquin Phoenix is somewhat crazy in real life to play this character so viscerally well; he emotes the absolute tar out of a scene with minimal dialogue. And in the rare moments when he isn't given a close-up, his body acting is surreal. "Joker" is filmed in a European style with long takes, brief moments of strong violence instead of constant action, and an ambient score that heightens every single moment, emphasis on the cello. Very rarely do I get chills watching a movie, yet the "bathroom dance" scene floored me, mostly because of the magnificent score. There are a handful of vocally negative reviews circling this movie; if someone doesn't like the brooding European style, I can get past that. But those critics who are concerned about a character like Arthur Fleck getting the spotlight, I have bad news for you: you're proving this movie's point. Arthur spends the whole movie arguing that he deserves a spotlight; he deserves to be listened to. He deserves happiness. But he doesn't get it - and it creates his demise. Those who want to deny people like him are part of the problem, and the rebellious nature of "Joker" is therefore chilling and disturbing.
- DirectorJordan PeeleStarsLupita Nyong'oWinston DukeElisabeth MossAdelaide Wilson and her family are attacked by mysterious figures dressed in red. Upon closer inspection, the Wilsons realize that the intruders are exact lookalikes of them.Horror films often have a lot to say about the human person and individual psychology, but it’s often the genre that skips capturing themes on a larger, social scale. Enter Jordan Peele. While his 2017 nightmare "Get Out" focused specifically on white progressive racism, Us is much broader in its commentary. It’s very similar to Darren Aronofsky’s "Mother" in that it throws a lot into the pot and mixes it up in chaos – and then the viewer is left to unravel whatever meaning he or she finds. I found it to be a commentary about all types of marginalized people (special attention to poverty), and how easily those “on the top” can forget they exist. Peele directs our attention to how poorly America handles poverty though useless social programs that look nice on paper, but have no business in the real world. His concept of having a mirror image of yourself is brilliant – your mirror image is trying to kill you because you’ve ignored how terrible its life is. “Us” carries itself well as a slasher flick, dialing up the violence but tastefully managing the gore. Lupita Nyong’o steals the show from beginning to end, especially when her mirrored self appears. She plays a strong mother and wife trying to protect her family on one end, and on the other, she’s a barbaric maniac who’s out to inflict torturous pain. She plays both parts so perfectly. The direction of “Us” is phenomenal; Jordan Peele has an astute eye for sleek cinematography and flawless editing – the movie’s climax is perhaps one of the best scenes I’ve ever seen put to film. Even the bloodiest action sequences have a sort of finesse to them. Michael Abel’s score is the cherry on top: remixing “I Got 5 On It” for the intense climax is my personal favorite track, with an operatic opening song being a close second. Though it has a predictable ending, “Us” is a film that shocks and pleases past its simple plot twists. It’s a film that won’t necessarily terrify you, but will have you thinking about it for weeks after.
- DirectorAnthony RussoJoe RussoStarsRobert Downey Jr.Chris EvansMark RuffaloAfter the devastating events of Avengers: Infinity War (2018), the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to reverse Thanos' actions and restore balance to the universe.Calling "Avengers:Endgame" the biggest fan service film of the decade sounds like an insult, but believe me, when it's done right, it can be the highest compliment. This finale of the Marvel Cinematic Universe brings everything together in near-perfect fashion, without trying to undercut or discredit the success of previous films. At first, I was concerned that "Endgame's" confusing time travel gimmick would turn it into a rehash of "X-Men: Days of Future Past" or a godawful "Pirates of the Caribbean: Dead Men Tell No Tales" mess, but alas, the writing is solid and manages to hold itself together as we're whisked from one scenario to another. It's laborious, considering this is a 3 hour epic, but rewarding. "Avengers: Endgame" uses its nostalgia overload to please every single audience member in some unique way. I would even go so far as to suggest that, once you reach the halfway point, you're cajoled into liking the movie - because the creators know that the hype is real. They capitalize on the hype and establish "Endgame" as more than just a record-breaking blockbuster. It's an event. It has consequences and plot twists that the filmmakers can't change their minds on. There's a lot of outrageous humor in the first hour, but once it's past, there comes a moment where the film means business, and everything gets better from there. Robert Downey Jr., Chris Evans, Scarlett Johansson, and Chris Hemsworth all bring newfound dimensions to their iconic characters, especially Hemsworth, who highlights his talent as a comedic actor. The visual effects, CGI, and cinematography is the MCU at the top of its game, and though a few sequences feel overwhelming at first, the transitions into continuous action is smooth. It's damn near impossible to make a "perfect" superhero film of this scale, but "Avengers: Endgame" certainly came close. It's a triumphant and cathartic film that brilliantly lives up to its own hype by being acutely aware of it.
- DirectorBenny SafdieJosh SafdieStarsAdam SandlerJulia FoxIdina MenzelWith his debts mounting and angry collectors closing in, a fast-talking New York City jeweler risks everything in hope of staying afloat and alive."Uncut Gems" is one long adrenaline rush - and an excellent one at that. For a movie about a sleazy gambling addict in a threatening, non-stop environment, you need to have energy. You need to have intensity. And this movie has all of the energy and intensity you could ask for. It never comes to a grinding halt, it never feels uninteresting. The cinematography and odd, eclectic choices make this a fast, but also trippy film. For example, there's such an emphasis on a prized, colorful precious stone in a jewelry shop that we occasionally "enter" it and are subject to futuristic, kaleidoscopic animated sequences straight out of an episode of NOVA l PBS. It's impossible to tear your eyes away from it. On a thematic level, "Uncut Gems" maybe could've delved deeper into Howard's (Adam Sandler) psychology as an addict, but even so, his actions speak loudly into how selfish people just use other people, fall back into old habits, and eventually meet some form of demise. Everything that happens to him is caused by his own doing, and he should've known better. Adam Sandler, the mocked actor for doing awful juvenile comedies, is in full force here as the New York jeweler who is both smooth and gross simultaneously, weaseling his way around people and into their wallets for money to gamble. And he's not the only one who impresses. Julia Fox, an unknown actress, plays Sandler's mistress and does some outstanding duality acting here. She plays a stereotypical "dumb blonde" who somehow also knows how to raise the stakes and get the job done. She will definitely be getting more roles after this movie. The music is the finishing cherry on top: it's an experimental mix of electronic, indie pop and hip-hop to make keep this movie engaging from start to finish.
- DirectorClint EastwoodStarsPaul Walter HauserSam RockwellBrandon StanleySecurity guard Richard Jewell is an instant hero after foiling a bomb attack at the 1996 Atlanta Olympics, but his life becomes a nightmare when the FBI leaks to the media that he is a suspect in the case.Clint Eastwood has a penchant for making movies about subjects that you could sometimes wish were completely make-believe. "Changeling" (2008), "American Sniper" (2014), and his new "Richard Jewell" all have sorrowful elements or story arcs that create a deep unease about the places we live in, the monsters we meet in our everyday lives, or our own personal demons. “Richard Jewell” falls under the first category the most, as the tactics and determination of the FBI to frame Richard Jewell (Paul Walter Hauser) for the Centennial Park bombing in 1996 is, for lack of a more intelligent word, scary. The two most vicious forces in America, as illustrated in the movie, are the government and the media. Both take their swipes at Jewell, a lonely and vulnerable man who has issues with self-control. And the movie isn’t trying to be a thriller about who actually placed the bomb, but is instead a deep character study into Jewell (and people like him), reflecting on patriotism, law enforcement, and American media. Real-life journalist Kathy Scruggs (played excellently by Olivia Wilde) represents a bigger commentary about the worst in American media. People who are apathetic and willing to break ALL rules are not good journalists. Though this movie has drawn deserved criticism for its portrayal of Scruggs and a creative liberty involving her character, she is not without redemption by the end, and she learns how empathy and feelings go hand-in-hand with finding a story. Despite that one setback, this movie is written exceptionally well, with plenty of surprising and welcome humor to balance the intense stakes. Hauser and Kathy Bates (playing Jewell’s mother) are a pair to be reckoned with, with Hauser playing the title character with painful gravitas and Bates slowly emerging out of a shell to the point where she could bring a tear to anyone’s eye. The two together have phenomenal chemistry; even when one is absent from a pivotal scene, you’re thinking about the other. Jon Hamm and Sam Rockwell both had their shining moments as well, further complementing Hauser and Bates’ flawless bond. And let’s not forget to give Clint Eastwood his deserved shoutout: the man is 89 and still directing a sharply edited and spectacular movie like this.
- DirectorNoah BaumbachStarsAdam DriverScarlett JohanssonJulia GreerNoah Baumbach's incisive and compassionate look at a marriage breaking up and a family staying together.I might get flack for saying this, but "Marriage Story" is essentially the result if Emma Stone and Ryan Gosling had actually ended up together in 2016’s acclaimed musical, "La La Land." While that movie didn’t deal with people living on opposite sides of the United States, it did very much focus on the separate, desperate dreams that artists have – and how a relationship (especially one that doesn't work) can pull people back. It’s tragic, which is a reflection on show business and the Hollywood attitude: drop everything, including others, so you can be successful. “Marriage Story” has Nicole (Scarlett Johansson), an aspiring actress, and Charlie (Adam Driver), a theater director, fighting over custody of their young son as they separate to focus on their dreams. There’s a bit of criticism on the “fame life” as Nicole moves away from New York to pursue acting in Los Angeles, but the message is clear that both these artists are too focused on their own crafts that they can’t be together romantically. And of course, a child is left in the middle of it. When it gets down to its gritty moments, “Marriage Story” also highlights the cutthroat attitude and perhaps uselessness of divorce attorneys. Nicole and Charlie don’t hate each other, yet their lawyers essentially encourage them to. While many critics have raved about the pivotal (and yes, excellent) fight scene between Adam Driver and Scarlett Johansson, my favorite moment in this movie is in the courtroom, as Laura Dern and Ray Liotta (the two attorneys) go at it relentlessly to attack each other’s clients while Driver and Johansson sit silently. It’s a more riveting scene than almost any action film I saw in 2019. Relationships shouldn’t be dictated by bureaucracy – that is essentially the movie’s message. Laura Dern is the powerhouse scene-stealer of this film, playing both the sweet “best friend” who knows the greatest eateries in town AND the ruthless rip-your-guts-out divorce lawyer. I couldn’t get enough of her. And that’s not to say she overshadowed everyone else – Scarlett Johansson brings incredible depth to her complex character, often showing off her acting chops in long takes, and Adam Driver acts subtly in slow-burner mode, erupting with emotion in the more climactic moments. The whole movie is a tour-de-force, and almost comes across like a stage play (an art form which these two characters are so focused on), making you reconsider the role of the legal process in American marriages.
- DirectorQuentin TarantinoStarsLeonardo DiCaprioBrad PittMargot RobbieA faded television actor and his stunt double strive to achieve fame and success in the final years of Hollywood's Golden Age in 1969 Los Angeles.Let me preface this by saying that I wasn't a huge fan when I left the theater - but Quentin Tarantino's new film certainly grew on me - a lot. Do some background research of 1960s (Hollywood) culture before seeing this movie!! I'm doing my best not to give anything away. "Once Upon a Time in Hollywood" is Tarantino's giant playhouse to create the idyllic, star-studded golden era of late-1960s Hollywood. It's a fairytale, hence the film's title. And with fairytales come all sorts of make-believe moments, fictitious characters, and blatant changing of history (as Tarantino stupidly did in 2009's "Inglourious Basterds"). In other words, Tarantino paints the picture of a "perfect" Hollywood - where veteran actors don't fade away, the newcomers gain precious knowledge while also inspiring the old, and the legends are actually real-life heroes (despite whatever terrible flaws they have). I know exactly what he's trying to do - and the resulting paradox is enjoying a movie that is blatantly false. Is it wrong to like this movie as much as I did? My two biggest concerns are: 1) the general (younger) public might take the bulk of this movie as fact and 2) it's entertaining as hell despite its tragic backstory. Aesthetically speaking, "Once Upon a Time...in Hollywood" is flawless. The driving scenes act almost as roller coaster rides through the glamorous Hollywood Hills, and there are several long takes, some of them even echoing the frustrating process of filmmaking. Tarantino places us right into the hype and charm of 1969, with all its cigarette smoke and neon lights. And it's no surprise that a Tarantino picture has wickedly impeccable editing and writing. Its dialogue and style is closest to his 1994 classic Pulp Fiction. Leonardo DiCaprio unsurprisingly delivers one of the best performances of the year, the soundtrack is stellar, the nostalgic nods to movies like The Great Escape are well-timed....I could go on. There's so much to like about this movie. But again, do some general research into Charles Manson, Sharon Tate, and the 1960s culture before seeing this movie and you'll have a better appreciation of the references and perhaps also feel odd in liking this movie.