When we look back at the 2010s in terms of movies, 2019 will probably not be the defining year of this particular decade. Frankly, I’d say that honor goes to either 2014 or 2017 just because of the wealth of future classics they offered. This wasn’t exactly the best year for cinema in the opinion of this humble writer (with a lot of movies that just slid off my brain like Teflon and some outright duds that are best left unmentioned).
Regardless, the first half of 2019 may have been a dry spell; but, the second half proved to be one impressive hot streak. Any year that can produce a list of this many quality titles shouldn’t be so callously dismissed. You got to find those silver linings when you can and such. Without further ado, this is my top twenty of 2019...with the usual caveats these year-end lists always come with. This isn’t my final word on this topic, the list is always subject to change, you may have discrepancies with my choices and that’s totally fine, etc. You get the idea. On with the show!
#20) HIGH LIFE
A24 has really been knocking it out of the park since they sprouted up back in 2013 and the first of many entries from their catalog on this list is this abstract space oddity courtesy of Claire Denis. One of the most bizarre and experimental visions from an indie powerhouse that made its bones gifting modern audiences with peculiar visions.
#19) JOJO RABBIT
Taika Watiti took a big swing with a premise this out there and potentially abrasive; but, it paid off as he really hit home with Jojo Rabbit. A film that’s deceptively thoughtful, sharply cutting, flagrantly quirky, surprisingly emotional, and deeply human. In an age where edgy comedy is either rarer than gold dust or misunderstands the point of such venomous humor, it's nice to see a film succeed without feeling like it's trying too hard to piss people off or pulling it's hardest punches out of fears that they may be crossing a line. The best "offensive: comedy always has a deeper meaning than simply catching an audience off-guard for a moment or two. In this case, it's mocking the monsters themselves and not the atrocities they committed. And, most potently of all, recognizing the childishness behind one of history's most unfathomable evils with shocking clarity.
#18) DOLEMITE IS MY NAME
All that talk you’ve been hearing about this being Eddie Murphy’s best performance in years wasn’t hyperbolic in the slightest. A wonderful parable about the power of on-screen representation and a nice window into one of blaxploitation cinema’s most quixotic figures. You can find it on Netflix right now. It’s good comfy viewing. No more, no less.
#17/16) TIE: JOKER/SHAZAM!
Look, I know I’m cheating by including two movies in one slot and breaking my goal of going to go a year or two without any superhero movies on the list. Nevertheless, I have more than a few good reasons to include both of these films.
We'll start with Joker because it's the most contentious of the two. For starters, the discourse surrounding it has been as captivating as it has been maddening. Joker is by no means a masterpiece; but, it’s stuck with me in ways few other comic book flicks (hell, few other movies period) have in recent memory with it's grimy visuals, bold if not a little simplistic script, and a rightfully celebrated performance from Joaquin Phoenix.
As for Shazam, that’s a matter of finding new ways forward by going back to the roots of a genre. It’s nice to know you can still get a crowd pleasing hit out of something made by filmmakers with clear enthusiasm and passion for what they're making. Like if Joe Dante made a superhero flick in the mid-90s, it would almost definitely look and feel like Shazam. From the looks of things, DC may rule the 2020s much like how the Marvel Cinematic Universe dominated the 2010s. And, considering how their next film looks like someone turned True Romance into a comic book flick, I’d say this is a rather exciting development for the genre.
#15) THE FAREWELL
What a beautifully empathetic, quietly powerful little film. Along with Dolemite is my Name and a few other titles that unfortunately didn't make my list, it’s the greatest argument for representation and diversity in the modern filmmaking scene. Because without it, we don’t get stories as honest, passionate, eloquent, and personal as this. I liked it when I first saw it and it’s grown on me ever since. Don't miss this one.
#14) THE LIGHTHOUSE
A monochromatic fever dream that mixes psychological character drama, absurdist dark comedy and supernatural horror into a mesmerizing cocktail. The best way I can describe it is that it feels like a richly textured classic novel. One where the atmosphere is so palpable and the characters are equally enigmatic. You can practically smell the salty sea air after you leave the theater.
#13) DOCTOR SLEEP
The late-2010s have been a mini-renaissance for Stephen King adaptations and this is no exception. In fact, it may be the best of this recent run. As a sequel to one of the most beloved horror films of all time, Doctor Sleep does an admirable job of blazing its own trail while respecting what came before it. Rose the Hat is one of the most memorable horror villains in recent memory and the whole story is tinged with a gentle melancholy that I found deeply arresting.
#12) JOHN WICK CHAPTER 3: PARABELLUM
A decade of truly excellent action cinema ends with a bang with the penultimate entry in the genre's current creme de la creme franchise. I have no clue how they’ll top this with Chapter 4; but, I couldn’t be more excited to see how they try.
#11) THE MAN WHO KILLED DON QUIXOTE
Terry Gilliam’s notoriously long-gestating dream project is finally here and, by God, it was well worth the wait. Adam Driver and Jonathan Pryce make for a winning duo and it features some of the most striking dreamlike imagery you’ll see in a movie this year or any other. Try it if your taste is a little adventurous.
#10) FORD V. FERRARI
Contrary to popular opinion, I don’t always limit my moviegoing habits to the super artsy or the super bizarre. Sometimes, a good crowd-pleaser is all it takes to keep me happy. Such is the case with James Mangold’s riveting recollection of the 1966 race at Le Mans. A film whose subtext of creative freedom equating to long-term benefits spoke to me and feels all the more necessary in a post-Disney/Fox world. Sure, the whole cast is aces; but, the standout is Christian Bale. He’s an absolute fire-cracker here, giving his usual brand of intensity a much lighter spin that’s compulsively watchable and consistently entertaining.
#9) APOLLO 11
Among the many trends to pop up in movies over the last decade, it’s really nice to see documentaries having a healthy life in the spotlight. Last year offered us bountiful riches like They Shall Not Grow Old and Won’t You Be My Neighbor?. This year, amid some other notable titles, we got Apollo 11. The footage the filmmakers had access to is absolutely breathtaking and the way it’s assembled is consistently compelling.
#8) PARASITE
Bong Joon-Ho’s latest masterwork is a one-of-a-kind celluloid entity that deftly balances dark comedy, chilling suspense and poignant class-conscious social commentary while also making excellent use of its stunningly designed central location. I’d say more; but, that would be giving the game away now, wouldn’t it? See this knowing as little as possible. Believe me, it lives up to the hype.
#7) DRAGGED ACROSS CONCRETE
S. Craig Zahler strikes again with his best picture to date. Vince Vaughn continues to reaffirm himself as a far more compelling dramatic actor than anyone could have predicted while Mel Gibson turns in one of his best performances in years. It deals with themes of modern society’s complicated view of law enforcement in a unique and nuanced way. The kind of thoughtfulness that makes you wish other similar films could do the same. At this point, if he keeps this hot streak going, I’m more than willing to credit Zahler as a new master of cinematic pulp among greats like Samuel Fuller and John Milius.
#6) KNIVES OUT
Boy, oh boy, does it feel good to unreservedley love a Rian Johnson picture again! Built on the foundation of an immensely well-crafted screenplay, it’s performed by a game cast and executed behind the camera with clock-work precision. A good old-fashioned murder mystery with modern touches that never feel pandering, out-of-place or desperate. Really, to say any more would be needlessly redundant. Suffice it to say, I haven’t felt this satisfied by a film’s final frame in a very long time...well, with the one exception being the film in my number four slot. But, I'll get to that in due time. Moving on...
#5) UNCUT GEMS
The Safdie Brothers have returned with their most nerve-wracking game of cinematic pinball yet. That wording may be more than a little intense; but, so is this movie. I have yet to see another film that captures what stress feels like this viscerally or this acutely. Adam Sandler is positively electric as a livewire human freakshow who's so enthralled to his need for push himself to the edge, that he's blinded himself to what real danger actually lurks behind his every move. His much-discussed Oscar nomination has a 50/50 shot of actually coming to pass. Regardless, he deserves it for delivering a performance this layered and committed. That kind of craft and attention to detail is worth something in my book. It’s just dropped in theaters this past Christmas. Definitely give it a shot. You’re never going to see a crime flick quite like this for a long time. Bonus points for what may be the best on-screen use of Billy Joel ever.
#4) THE IRISHMAN
Returning to the subject of perfect final shots, no other film this year has ended on such a deceptively simple yet ultimately devastating note. Martin Scorsese came back to the gangster pictures that many say he perfected in the ‘90s to give the storied genre it’s day of reckoning. It’s well-paced, well-textured, and somber while not devolving self-pitying. Absolutely essential viewing.
#3) AD ASTRA
A sort of Solaris by way of Apocalypse Now, Ad Astra is easily James Gray’s best work to date. Max Richter’s score is off the charts, Hoyte van Hoytema’s cinematography is next-level beautiful and I’ll be damned if that climax didn’t hit me where it hurts. A stunningly great science fiction film to cap off a decade that’s given us more than its fair share of superb cinematic sci-fi… oh, and did I mention this also has space pirates in it? Because there’s space pirates in this and they chase Brad Pitt around on the moon. That’s just awesome, plain and simple.
#2) ONCE UPON A TIME IN...HOLLYWOOD
Going from one film that presses all my buttons in all the right ways starring Brad Pitt to another film that presses all my buttons in all the right ways starring Brad Pitt...well, you get the idea. It’s a slight film upon first viewing. One whose riches grow more rewarding with each successive viewing. To borrow a phrase from Tarantino himself, Once Upon A Time In ... Hollywood is a terrific hangout film. In an age where we’re growing more and more skeptical of why we hold the City of Angels in such high regard, this is a splendid reminder of why we fell in love with it’s decadent fantasies in the first place. It's a lovely cruise through a Technicolor dreamland, inspired by reality yet undeniably cinematic.
Before we get to my number one film of the year, I’d be remiss if I didn’t shine a spotlight on some honorable mentions:
- READY OR NOT (for being a solid horror-comedy with a solid script with clever surprises abound and plentiful amounts of carnage)
- GLASS (for being the other intellectually stimulating and divisive comic book flick of 2019)
- THE ART OF SELF-DEFENSE (for being one of the smartest, most unique dark comedies I’ve seen in a while. It's also just the hardest I've laughed at any movie this year.)
- ROCKETMAN (for proving that music biopics can have a pulse and actually resonate with audiences besides the ephemeral appeal of watching movie stars lip-sync iconic pop ballads)
- THE BEACH BUM (for simultaneously gifting us with the quintessential Matthew McConaughey performance and the most beautifully photographed movie to ever be set in Florida)
- IN FABRIC (for being the most entertainingly bizarre movie-going experience I’ve had all year, possibly in my whole life)
- CRAWL (just for being a lean, mean, well-done creature feature)
And now, my favorite film of 2019 is....(insert a drumroll here if that's your bag)....
#1) UNDER THE SILVER LAKE
Now, from a film that can’t stop singing Hollywood’s praises, we transition to a film so frustrated and disgusted with it all that it’s determined to burn the whole thing down. After staking his claim with the superb It Follows, David Robert Mitchell’s latest film is quite the curious case study. A film of numerous walking contradictions. Where the mysteries are labyrinthine, overwhelming and always in the foreground; yet, by the end, they’re all cast aside simply and end up meaning little to nothing. Andrew Garfield gives one of the best performances of his entire career as a scruffy wannabe gumshoe navigating his way through the dizzying hipster detritus that is contemporary Los Angeles. Ditto for the mesmerizing score courtesy of Disasterpeace. If his previous work on It Follows was him exploring his inner John Carpenter, this is him experimenting with his inner Bernard Herrmann.
It’s an utter thing to behold…which makes the fact that it’s distributor buried it so unceremoniously all the more heartbreaking. Thankfully, it’s easy to find on streaming and it’s starting to grow a cult fanbase (of which I am most certainly a part of). I can’t say it’s for all tastes. But, if you’re looking for something new and bizarre, I couldn’t recommend highly enough. It’s a film that I could talk about ad nauseum (to the point where I’ve been trying to figure out the best long-form approach to it for at least six months). Needless to say, this is the best movie of its kind since Inherent Vice. I’ve seen it two or three times already and I’ll probably end up watching it even more throughout the coming years. It’s a mesmerizing fever dream of a film that’s dense to pick apart for hours and bold enough to mock the viewer for doing so. A true original. Please give it a look.
Thanks for reading and have an amazing new year! Onward to 2020!
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