2019 was a huge year for film. It took an international pandemic but I finally cleared my backlog of every movie from 2019 I wanted to see. I’ve compiled a list of the best of the best and I’m here to share it with you all to give you some material to quarantine with. This list will simply be presented in alphabetical order. Also, for clarification, we’re defining a 2019 release as a film that came out in America in 2019. That may sound simple enough but otherwise a couple films wouldn’t be eligible. For example:
Climax
97 min, Horror, Directed by Gaspar Noe
If we’ve talked about Gaspar Noe prior, you would know how big of a deal it is to see his latest film on this list. I’ve famously said that Noe is the most talented director to never make a good movie. I’m very happy to finally have a film from him I absolutely love. His brutal, in-your-face style has (for me) previously done more harm than good. I’ve loved the camera work but have never felt like his most contestable content has been justified. Enter the Void was the film I previously thought worked best but it’s last 50ish minutes were just not for me. When Love came out I thought Noe was just beyond saving. But this. This is very good. It is still cruel and disturbing but it knows when to pull back and when to dive in. It allows the camera to thrive and enhance every moment instead of simply building up to the meanest. I’ve watched this film a couple of times now and I’m excited to see what Now does moving forward.
Dora and the Lost City of Gold
102 min, Comedy, Directed by James Bobin
No I am not kidding. From the writer/ director of Ali G. Show and Flight of the Concords comes the most flooring theatrical experience of the year. When a film that is destined to be utter trash comes along, I’ll get a group of friends together and we’ll go see it to have a laugh. We did it with Grinch (2018) as well as Cats and a few others. Unfortunately, our plans failed here as we accidentally watched a good movie. It’s a strangely potent deconstruction of kids media. A couple minutes in a creature convulses and Dora looks at the camera and says “Can you say, ‘Severe neurotoxicity’?” and a few minutes after that her dad tells her to stop playing Explorer and come in for dinner. At that moment her backpack and map stop talking. Suddenly they’re simply intimate objects and we’re shown that it was only in her head. It’s honestly pretty intense stuff. Now, disclaimer, this still is a kids movie. Some moments are rough and it’s not gonna end up in a BFI list or anything. With that said, it’s absolutely worth a watch.
The Farewell
100 min, Drama, Directed by Lulu Wang
People grow old. People die. It’s part of life yet it’s never easy to say goodbye. It’s harder still if you aren’t allowed to. Such is the burden of the main character in this autobiographical piece from Lulu Wang. She is told that in China it is the burden of the family and not the individual to carry knowledge of death so even though the pillar of the family has three months to live, no one is supposed to tell her. This film is both hilarious and heart-wrenching. It is empathetic and questioning. It knows what it wants to say with every moment of dialog carefully crafted to add depth. Additionally this is a film that gives voice to the Asian American in a way not often seen. I feel like I gained a bit of empathy simply by experiencing this film and if a great film makes you a better person, what more could you ask for?
Honey Boy
94 min, Drama, Directed by Alma Har’el
Turning trauma into art can be extremely therapeutic. Shia LeBeouf tells his childhood story in hopes of sealing it off and growing from it. This isn’t a piece that wallows but it does attempt to come clean and not shy away from what needs to be said. LeBeouf was abused as a child – plain and simple. Prior to this film, there had always been stories – old news articles of his father ripping him off set mid-shoot or something to that effect – but this tells all. To add another layer (as an attempt at understanding or preservation of truth, I know not) LeBeouf actually plays his father. This is an intimate, uncomfortable film but it is extremely well made and I’d even argue that it needed to be made so both LeBeouf and child stars going through the same thing can move forward. I look forward to seeing what Shia writes next and what Har’el directs next.
I Lost My Body
81 min, Fantasy, Directed by Jeremy Clapin
This is a strange film. It is the story of a disembodied hand trying to reconnect with its body. Five minutes in you will either accept that and see the charm of the story and characters brought to life in the animated medium where it can thrive best or you can give up. I would recommend the former. This became the first animated film to win the highest award during Critic’s Week at Cannes. That alone should convince you that his is worth a shot. It is an expertly crafted film with a lot of payoff for those willing to give it a chance.
The Irishman
209 min, Drama, Directed by Martin Scorsese
When this film was announced Robert De Niro was asked in an interview why now was the time to reconnect with his old buddy director and his old buddy actors and make yet another crime drama. De Niro said the film represented “unfinished business.” I couldn’t have put it better myself. Throughout Scorsese’s career he has been accused of glorifying criminal lifestyle whether that be intentional or inadvertent. I think those people are certifiably insane, for the record, but regardless the gang got back together to once and for all say what they needed to say. Crime doesn’t pay. This film is slower and more mature than the previous crime dramas from the master himself but it’s in the last hour or so that the film truly reveals its greatness. Up to that point, there’s a masterfully made crime drama that shows the rise and fall of a person in too deep. We saw it in Goodfellas. We saw it in Casino. We saw it in The Wolf of Wall Street. If the film were to end there, it would still be an amazing film. But after it arrives at that point there’s still another 50 or so minutes. The film then goes out of its way to show the consequences. What remains when you’ve lost everything? What value does your life have when you’ve wasted it in causing suffering? It’s these questions that are new and fresh and resolve the unfinished business of everyone involved.
Jojo Rabbit
108 min, Comedy, Directed by Taika Watiti
Watiti has become something of the indie golden boy in recent years. On a busy street, if you listen closely, you’ll hear a woman in her mid twenties clad in brownish colors desperately trying to convince her friends to watch What We Do in the Shadows by telling them the same guy made Thor: Ragnorak. All joking aside, it’s good to see an indie director really rise in popularity and it’s great to see that Watiti will continue to make what he wants even while working for Disney. If you told me a couple years ago that in the middle of his Disney contract, he’d make a comedy about a boy whose imaginary friend is Hitler, I probably would not have believed that possible. I’m glad it is here though. Fantastic performances from every member of the cast bring this to life. Though the film is best categorized as a comedy, it still manages to be respectful and make poignant statements when the times come – and they do come. If you’re looking for a pure comedy, this may not be for you. But, if you want something with a little more depth, look no further.
Joker
122 min, Drama, Directed by Todd Philips
Before this film came out, it was being hailed as the most controversial thing ever made. Police were placed at every large showing, headlines flooded blogs, and the media waited for someone, anyone, to shoot someone else. But. None of that happened. Instead we got a film that reached a large audience and made decent points about mental health and loneliness and gave people that typically wouldn’t see such films a chance to feel heard. It may not be nearly as good as some hail it to be and I’d be remiss if I didn’t acknowledge that the film really is just Taxi Driver and The King of Comedy thrown in a blender. Still, Joaquin Phoenix puts in an incredible performance and carries a pretty timely film.
Knives Out
131 min, Mystery, Directed by Rian Johnson
George Lucas retired from film making after the prequels and I don’t think it’d be controversial to say a decent portion of that came from the sheer pressure he felt from the Star Wars community. Rian Johnson was put under the same pressure after the criminally misunderstood The Last Jedi. Rather than take a break, however, he bounced right back and made an undeniably fun whodunnit. Featuring an ensemble cast and a watertight script, this was absolutely one of the most enjoyable pieces this year. In particular, Chris Evans’s character is a perfect foil to the archetype Evans is currently known for and he greatly shines. Also, seeing Ana de Armas in anything is always a treat.
The Last Black Man in San Francisco
121 min, Drama, Directed by Joe Talbot
This was the directorial debut of the year. I think this is absolutely the film one needs to discover, experience, and unravel for themselves so I’ll be mostly vague. I will say the film tackles themes that feel pretty fresh and interesting. It asks what a person is to do when what they love is no longer what it once was. It asks how long is too long when holding on and hoping for change or return. It asks if ignorance really is bliss or if its simply cruelty and if allowing your friends to stay in a place of ignorance is even remotely kind. This was one of the bigger surprises for me this year and I honestly don’t want to say any more. I hope that you will check this one out.
The Lighthouse
129 min, Fantasy, Directed by Robert Eggers
What even is there to say about this film? Eggers finally had the money after making The Witch to make what he really wanted to make – a film about two men, a lighthouse, some seagulls, and phallic imagery. It’s shot beautifully, the acting is incredible, and it’s extremely confident throughout. It’s definitely not going to be for everyone but I think it’s a good film to try out surrealism with if you never took the plunge with classics like Videodrome or Mulholland Drive. And if you liked those films, here’s something else in that vein. I’m probably not selling this film as well as it could be sold but I really don’t know what to say other than this is a wholly unique film that stand out even among its peers within the genre and that I think it is something people should give the college try.
Little Women
135 min, Drama, Directed by Greta Gerwig
I know you’ve heard me gush about this one. Gerwig proves herself to be absolutely one of the best working directors with her sophomore effort. I really liked Lady Bird but I felt it was indie to a tee. In other words, I did not feel like it showcased someone who could tackle a project like this. Lady Bird had three people on camera at most. This film has scene after scene of hundreds of extras and the camera navigates them with utter ease. Obviously there’s kudos to the cinematographer, Yorick Le Saux, but much of that credit needs also given to Gerwig who apparently just has innate talent when it comes to directed masses and shot composition. One of the best reviews I heard for this film was from a English professor who initially tweeted something to the effect of “Why do we need another adaption of Little Women?” and then saw it and tweeted “Oh. I get it now.” I’m trying to not turn this mini-review into an essay but I must acknowledge the cast. Saoirse Ronan and Florence Pugh (who will be coming up again in a minute) both absolutely nail their roles. Emma Watson, without a doubt, can act and she probably puts in the weakest performance here which shows just how high that bar was. I’ll stop here because I could talk about this film for a very long time. It’s in my top 3 for the year. Please watch it.
Marriage Story
137 min, Drama, Directed by Noah Baumbach
I am a huge Noah Baumbach fan. I show Frances Ha to anyone that is willing. I’ve talked for hours about the directorial choices in The Squid and the Whale as well as The Meyerwitz Stories. Ah man. I love this boy. I had some high expectations going into this one and every single one of them was exceeded. The dialog is so natural that people complained that such obviously improvised dialog was getting awards season recognition for writing until Adam Driver came out and specifically said that not one line was improvised. I was talking to my friend about this and she acknowledged that when dialog is that natural it’s easy to dismiss the writing altogether and not even think about (which unfortunately is true) it but I will shout from the rooftops how well written the dialog is. Also, speaking of Adam Driver, he genuinely is my favorite actor right now and this is possibly his best performance. Some people have viewed the climax out of context and feel it is overacted but I dare someone to sit through the whole film up to that point and think that. The way the film builds is nothing short of genius. I’ve seen a lot of people compare this to Kramer vs. Kramer but if that’s the comparison we’re going to make, this film could not be more important. That film was purely told with the male perspective. Audiences hated Meryl Streep’s character. This film, on the other hand, does everything in its power to show that Baumbach does not consider either party evil or good – merely human.
Midsommar
148 min, Horror, Directed by Ari Aster
Of the modern horror director sophomore films this year, three made this list. We’ve talked about The Lighthouse and Us is coming up. But this film exceeds them both by miles (in my opinion) and puts Aster as the horror icon to watch. The premise is simple enough. A group of Americans travel to Sweden and get trapped in a cultish environment. This simple concept is brought to life, however, through wonderful casting, effects, hidden moments, and top tier shot composition. I’m happy to say that this film has, mostly, gotten the recognition it deserves and that Florence Pugh is being called the actress to watch. People have dedicated hours upon hours to analyzing every frame of this film and finding every tiny easter egg or hidden meaning. When art has that much depth, something is being done right. Even if horror is not your forte, I would encourage you to give this a chance.
Once Upon a Time… in Hollywood
161 min, Drama, Directed by Quentin Tarantino
The most fascinating complaint I’ve heard about this film is that it is too masculine and that it only appeals to that people group. I may be male but I don’t think I could be much less of a showcase for “masculinity.” I think the actual problem is people have grown tired of Tarantino and went into this looking for problems when, at least to me, it’s easily his best film since Inglorious Basterds and probably even longer than that. Somehow this is absolutely Tarantino and yet it manages to not be overbearing. There’s brutal violence, witty characters, and a lot of feet, but something here feels a little more managed. I think Tarantino pulled back when needed so that he could go all in when he wanted to and he ended up crafting a pretty amazing film. There’s a sequence about halfway through with Leonardo DiCaprio shoooting a scene, raging after it goes poorly, and trying again that definitely goes down in my book for one of the smartest sequences this year.
One Cut of the Dead
96 min, Comedy, Directed by Shinichiro Ueda
If there’s one film on this list that you probably haven’t heard of it’s this one and unfortunately, to preserve the viewing experience, I won’t get to tell you much. This film initially premiered at a Japanese film festival in 2017 and then sat on the shelf for two years before reaching wide distribution. Even back then people wrote that they wanted to say so much but could not and I’m glad they didn’t. Going into this film blind was an absolute treat. Find a way to see it. Don’t look up anything else about it.
Pain and Glory
113 min, Drama, Directed by Pedro Almodovar
How much of this is autobiographical? Who knows. We know the film is inspired by Almodovar’s life but we also know some parts are absolutely not from the director’s story at all. Meshing this altogether to make a piece about aging and reflection creates a very striking film and I’m happy we got it. Almodovar has been Spain’s biggest director for a very long time and he is aging. At one point he made Women on the Verge of a Nervous Breakdown and Tie Me Up! Tie Me Down! merely a year apart. At this point in his career, however, it had been three years since Julieta and eight years since his last universally well received film The Skin I Live In. Luckily for us, Almodovar proves he still has plenty to say and new ways to say such things. Antonio Banderas puts in work as the lead and brings to life such exceedingly human struggles that you cannot help but feel for him. This feels like a “final” film from a director if there ever was one but Almodovar has gone on record saying he has more on the way. I’ll look forward to that.
Parasite
132 min, Drama, Directed by Bong Joon Ho
Oh yeah. This one is a pretty underground hit. You may not have heard of it. Obviously, I’m joking. Parasite took the world by storm. It was the first unanimous vote winner of the Palme d’Or since Blue is the Warmest Color and became the first foreign language film to ever win Best Picture. There is very little I could say about it that has not already been said. There are many essays on its themes of class struggle and deception. If you somehow have not checked this film out, stop reading and go watch it. It’s on Hulu right now. Come back after. I’ll be here.
Portrait of a Lady on Fire
122 Min, Drama, Directed by Celine Sciamma
Speaking of films where there’s very little I can add, here’s this little masterpiece. Even the people that hate this movie (which how could you, but whatever) acknowledge the absolutely stunning cinematography with incredibly smart use of natural lighting, the stellar performances from the two leads, and the factually perfect final shot. And those are the points that the naysayers can acknowledge. Past that, this film has been celebrated for its constant subtext, unique progression, and great dialog. It was added to the Criterion Collection before it ever hit theaters. So there’s that.
The Souvenir
120 min, Romance, Directed by Joanna Hogg
This film has not found much of an audience outside of cinephiles even a year after its release and I’m unsure why. It does deal with an aspiring director but otherwise the themes of toxic relationships are something that I feel like most have experienced either firsthand or vicariously. Maybe that is the problem inherently. Maybe this film deals with too destructive of themes and is too relatable to find an audience. I know not but I will certainly do my part here to try to get someone to watch it. If I had to pick a standout element of this film, it would be Honor Swinton Byrne’s performance. She is the daughter of Tilda Swinton and got this role almost by accident. The director and Swinton went to college together and were talking about the project when Hogg thought about trying out Byrne for the part. Honor Swinton Byrne was not a known actress and hadn’t done a role in a decade. Yet, sometimes the shoe just fits. She brings such life and depth to her character and makes the audience understand her plight. I don’t know. Maybe others are just seeing flaws I’m not but I really do think more should check this one out.
Uncut Gems
135 min, Drama, Directed by The Safdie Brothers
I don’t know if another film has ever caused me this much constant anxiety. There have been scenes from films, certainly. But there are usually peaks and valleys. This film, however thrives in its distinctive lack of desire to ever let the audience breathe. You stick with one of the most fascinatingly deplorable protagonists of recent memory as he tries again and again to not so much better himself as trick others into thinking he is. The film does not celebrate nor condemn him. The film simply acknowledges him and takes you along for the ride. Adam Sandler puts in the best performance of his career finally topping Punch-Drunk Love and the supporting cast is great as well. Smart framing and use of music keep the tension up when it otherwise could resolve creating a brilliant, if not extremely hard to watch, film.
Us
116 Min, Horror, Directed by Jordan Peele
Get Out was on everyone’s list when it came out and people wondered “How is he gonna top that?” Well. He didn’t. But we still got smart, if tonally inconsistent, piece that works on the surface as a nightmare and deeper as an allegory for privilege. Lupita Nyongo carries this film with a great performance as both of her characters. The piece develops in really interesting ways as well. My main problems from this film come from the comedy. What worked great in Peele’s first effort, just does not land here and I’m left wondering how much more I could have enjoyed the film if it didn’t do its darndest to break the tension every other scene. It’s still very good – it did make my list – but I just wanted a little more out of this. For some, however, the balance seems to have worked better so give this a try and hit me up and let me know what you thought.
Waves
135 min, Drama, Directed by Trey Edward Shults
Last but far, far from least, we have this gem. The title, I believe, comes from the ripple effect. Actions have consequences. Big actions have big consequences. A ripple becomes a wave. This film goes to places few films are willing to even attempt to go. It shows the absolute destructive depravity of man and yet it shows how the most beautiful things can come from pain and suffering. The writing on this film is actually incredible. I constantly was left guessing where we would end up and was often floored by where the film would go. The aspect ratio changes (just when you thought there was no other element I could praise a film for) add so much and convince me that there simply was no better medium to tell this story with than film. The music choices are smart and interesting and honestly it all comes together to make a product that shows… heart. You can tell Shults cared immensely about this piece and wanted every element just right to match the vision he had for the film. It all comes together very well and I highly recommend this film.
Closing Thoughts
Well there you have it. If you read this whole thing, I appreciate you more than you know. 2019 genuinely was the greatest year for film since I’ve been alive and I’m glad to come back to this blog and make this post. If I get one person to watch one of these films, I think it was worth it. Film means so much to me and I hope this helped you to either find some stuff you haven’t heard of or seen or allowed you to celebrate great film alongside me.
I’ll try to post more often. Stay safe out there.
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