I think I complain about movies every year. So how about we
end the decade on a happy note? There have been some decent gems in
2019.
Maybe it's a sign of the times, but the running theme of the year seems to be horror. Most especially horror focused on societal ills. You can see it best in what I'd call 2019's best performance: Joaquin Phoenix in Joker. For a change, it's a comic-book film that eschews action and spectacle in favor of a brand of drama that was more popular in the 1970s. It's a film more interested in telling a story, and it does so in the best way: by making you care for its character, even when he's a villain. Many folks find this troublesome, but as a tragedy, a cautionary tale, and a film that sheds light on social issues and evil, I consider it an insightful piece of art.
There are other films that have added their hands to the social autopsy--Parasite made a huge splash with its thrilling premise that explores both sides of the class divide, in ways that gave Joker a run for his money. Once Upon A Time In...Hollywood, despite all its nostalgic charm and indulgences, seems to offer a bit of a critique on media violence as it explored the dark legacy of Charles Manson. Then there's Us, the bat-sh*t crazy horror flick that conjures up shadows of ourselves amidst subtle social satire. Dragged Across Concrete, The Irishman, Marriage Story, The Last Black Man In San Fransisco, and a few documentaries all hold up mirrors to different parts of our modern world, showing us somber truths within their craft. Even Midsommar suggests that there's something wrong with society in its own way.
Never fear though--if it all seems too heavy, Hollywood does offer reprieve with some halfway decent entertainment. When it comes to the usual franchises, we've spent part of the year watching some of them sound off respectably (as it happened with Marvel Phase 4, Star Wars, How To Train Your Dragon, Rambo, Shyamalan's superhero trilogy, maybe Toy Story although that one could continue without certain characters). We've also seen franchises continue in exciting new directions (John Wick, IT, The Lego Movie, Godzilla, a Fast and Furious spin-off, Men In Black with a new cast, another attempt at a Terminator requel, more DC and X-Men stuff). And a few franchises may be finding their audiences for the first time (Alita, maybe Brightburn, maybe more live-action Pokemon stuff). It's pretty interesting to observe the end of some things and the beginning of others.
In between, there are a broad range of films to appreciate (and some that suck). Of all the films released this year, it's actually Apollo 11 that surprised me the most--in what I thought would be a stiff and straightforward documentary, I was pleased to lay eyes on pristine historic footage assembled with modern editing techniques and music. It's a raw, unfiltered, but compelling presentation. It's everything I expect cinema to be, and it's doubly-valuable for capturing actual history and making it palpable for the 21st century. No other movie this year can make that claim.
Unless my scores change in time (and they might), there haven't really been any films I loved enough to grade a full 5/5 for. But chances are good that there's a film out there I haven't discovered yet that could blow me away and warrant the full points. Chances are also good that I'll wind up re-evaluating some of these films and re-grading them (Apollo 11, Joker, Midsommar are in close consideration).
Films from 2019 have presented much fear and much awe. Amazingly, many of the best films have been the longest, stretching well past two-and-a-half hours. It will be interesting to see what the 2020s deliver and whether I'll look back on this year with the same fondness I do for 2009 or 1999.
Maybe it's a sign of the times, but the running theme of the year seems to be horror. Most especially horror focused on societal ills. You can see it best in what I'd call 2019's best performance: Joaquin Phoenix in Joker. For a change, it's a comic-book film that eschews action and spectacle in favor of a brand of drama that was more popular in the 1970s. It's a film more interested in telling a story, and it does so in the best way: by making you care for its character, even when he's a villain. Many folks find this troublesome, but as a tragedy, a cautionary tale, and a film that sheds light on social issues and evil, I consider it an insightful piece of art.
There are other films that have added their hands to the social autopsy--Parasite made a huge splash with its thrilling premise that explores both sides of the class divide, in ways that gave Joker a run for his money. Once Upon A Time In...Hollywood, despite all its nostalgic charm and indulgences, seems to offer a bit of a critique on media violence as it explored the dark legacy of Charles Manson. Then there's Us, the bat-sh*t crazy horror flick that conjures up shadows of ourselves amidst subtle social satire. Dragged Across Concrete, The Irishman, Marriage Story, The Last Black Man In San Fransisco, and a few documentaries all hold up mirrors to different parts of our modern world, showing us somber truths within their craft. Even Midsommar suggests that there's something wrong with society in its own way.
Never fear though--if it all seems too heavy, Hollywood does offer reprieve with some halfway decent entertainment. When it comes to the usual franchises, we've spent part of the year watching some of them sound off respectably (as it happened with Marvel Phase 4, Star Wars, How To Train Your Dragon, Rambo, Shyamalan's superhero trilogy, maybe Toy Story although that one could continue without certain characters). We've also seen franchises continue in exciting new directions (John Wick, IT, The Lego Movie, Godzilla, a Fast and Furious spin-off, Men In Black with a new cast, another attempt at a Terminator requel, more DC and X-Men stuff). And a few franchises may be finding their audiences for the first time (Alita, maybe Brightburn, maybe more live-action Pokemon stuff). It's pretty interesting to observe the end of some things and the beginning of others.
In between, there are a broad range of films to appreciate (and some that suck). Of all the films released this year, it's actually Apollo 11 that surprised me the most--in what I thought would be a stiff and straightforward documentary, I was pleased to lay eyes on pristine historic footage assembled with modern editing techniques and music. It's a raw, unfiltered, but compelling presentation. It's everything I expect cinema to be, and it's doubly-valuable for capturing actual history and making it palpable for the 21st century. No other movie this year can make that claim.
Unless my scores change in time (and they might), there haven't really been any films I loved enough to grade a full 5/5 for. But chances are good that there's a film out there I haven't discovered yet that could blow me away and warrant the full points. Chances are also good that I'll wind up re-evaluating some of these films and re-grading them (Apollo 11, Joker, Midsommar are in close consideration).
Films from 2019 have presented much fear and much awe. Amazingly, many of the best films have been the longest, stretching well past two-and-a-half hours. It will be interesting to see what the 2020s deliver and whether I'll look back on this year with the same fondness I do for 2009 or 1999.
--------------------------------------------------
Released
films yet to be seen: Knives Out, 1917, The Lighthouse, El Camino, Uncut Gems, Zombieland 2, Hobbs and Shaw, Cats
--------------------------------------------------
2019 FILMS AL HAS SEEN
64: Velvet Buzzsaw
 |
| This is exactly how I look when watching a film. |
63: I Spit On Your Grave: Deja Vu
This was always a trashy series. Forty years after the gut-wrenching original, Meir Zarchi reunites with Camille Keaton for a "true" reboot of sorts, but the resulting film is shockingly inept and bloated. There is no reason for this nonsense to go on for two-and-a-half hours. And in forty years any semblance of talent in the direction, writing, and acting is butchered. I don't even remember it being all that shocking. I can still watch the film, I guess, but it'll be as more of a "so bad it's good" level, which is sad for a gritty revenge series that took itself so seriously for decades.
62: Rim Of The World
61: The Man Who Killed Hitler And Then The Bigfoot
I went into this expecting something eccentric and crazy. The film gave me a very straight-faced and serious account of one man's life. Played this way, I found it droll, lifeless, and uninteresting. That's just sad for a film where Sam Elliott slays both Hitler AND Bigfoot. Imagine how this would have been in the hands of filmmakers like Sam Raimi, Robert Rodriguez, Frank Henenlotter, or those Troma guys. This could have been a real hoot.
60: Dumbo
 |
| The cast apologizes to Dumbo for the whole movie's existence. |
59: Hellboy
An R-rated Hellboy? Hell yeah! Starring Milla Jovovich? Yes please! From director Neill Marshall? Oh god no.
The film looks pretty rad at times, but there comes a point where violence for violence's sake and profanity for profanity's sake comes off as distasteful, to the point where the work becomes unpalatable. Sure, the film's as R-rated as it can be, but it adds nothing particularly "cool" to the action or story. And the story is as bland and convoluted as can be, thanks to its crummy dialogue, cliches, and slapdash story. I don't even care if it is ripped straight from a comic with Milla's beautiful face on it--the whole Merlin thing just doesn't work for me, and the film does no work at all to make me care enough.
The film looks pretty rad at times, but there comes a point where violence for violence's sake and profanity for profanity's sake comes off as distasteful, to the point where the work becomes unpalatable. Sure, the film's as R-rated as it can be, but it adds nothing particularly "cool" to the action or story. And the story is as bland and convoluted as can be, thanks to its crummy dialogue, cliches, and slapdash story. I don't even care if it is ripped straight from a comic with Milla's beautiful face on it--the whole Merlin thing just doesn't work for me, and the film does no work at all to make me care enough.
58: The Prodigy
 |
| Hey kid, Damien called. He says you don't smile enough. |
57: IO
A rather nice and unassuming indie picture on Netflix--one of many really. IO is widely considered one of the slowest and blandest of the lot, and it's easy to see why. I do rank it a little higher though because I did find the story interesting enough, and I was smitten by the performances. There is potential in this story, but it could use a little more narrative zing.
56: The Dead Don't Die
This might be the most mellow zombie movie ever made. Like it is with most other films by Jim Jarmusch, we're given a slow and relaxed couple of hours to chill with Bill Murray and Adam Driver as they give insightful dialogue and occasionally shot the undead. Some of the flourishes (including fourth wall breaks and UFOs) are a little too weird. But while most of Jarmusch's films intrigue me with style and characters, both aspects fall flat in this picture and I'm left wishing the dead would stay dead.
55: Captive State
Like a few other small-scale sci-fi releases of late, Captive State is a film with big ideas and a few interesting nuggets buried beneath low-budget blandness. This particular film boasts a rather garish style that emphasizes grit and tension amidst a fairly fascinating premise involving alien nations and such. I have no doubt there's a political parallel involved. Can be interesting, but the cast is utterly shallow and it makes the film forgettable in the end.
54: The Curse Of La Llorona
How about that shared Conjuring universe, eh? Having missed out on all the Annabelle hype, this spin-off didn't really entice me on its own merits (I only viewed it to pass time on an airplane). While the mythology is mildly interesting, the story came off as cliched, especially with its reliance on jump-scares, archetypal characters, and manufactured forms of tension. I did sympathize with the characters, sure, and I found the story more interesting when it dipped into the realms of paranormal investigation. By this time next year, I'll probably forget the film exists.
53: Triple Threat
What's advertised as the Expendables for martial artists is actually a rather bland, unexciting affair. The star power exists, and each star pulls a few good punches (save for Tony Jaa, who unfortunately seems sidelined by the others). The story's as generic as it can be, offering nothing to glue the explosions and fights together.
52: Pokémon Detective Pikachu
I may not be a Pokémon fan, but I'm pretty sure this live-action adaptation misses the mark. In part, I found Ryan Reynolds' lines grating--what worked in Deadpool does nothing to make Pikachu lovable. The plot is a tiresome slog full of unfunny jokes, shallow eye candy, and cliched story beats. Franchise fans will probably find more to love.
51: Child's Play
After five wonderfully cheesy films and a droll double-feature reboot, the latest iteration of Chucky seems to fall in the middle. At times campy, other times serious, the killer doll now harnesses the fear of artificial intelligence with gruesome effect. There are times when the film feels succinct, and there are other times when it feels like just plain goofy fun. It still comes off as a garish, misguided reboot that lacks the punch of the original.
50: Men In Black: International
Sony attempts to expand their MIB universe. Without the clever eye or brains of Barry Sonnenfeld, the series comes off as a shallow copycat, more interested in bizarre creatures and special effects than in giving mind-bending gags or even a good story. It's a shame, because there are moments where it feels like the film tries. I kinda sorta like the heroes (and the cast is indeed impressive), some scenes are really cool and fun. But I can't get over how cliched, shallow, and nonsensical the plot and story are. All the gloss, talent, and exotic locations can't make up for the blandness of the writing.
49: Brightburn
This movie gives us a scenario of what could happen if a boy from another planet came to us as an evil Superman. It is a violent and bleak scenario, but the film offers surprisingly little insight as it glosses over its plot and harps on horror cliches. What hurts even more is that the characters are largely unlikable. It's a shame, because Chronicle was able to relay the same ideas with stronger and more compelling characters.
48: Eli
This short Netflix horror flick hits its stride well, offering suspense and mystery all the way to its devilish finale. Holy crap, those last scenes can't be unseen. I admire the twist and the way it's revealed--it's a nice payoff by horror standards. Even then, the story leading up to it does maintain interest. It's probably not as original or fresh as other films of this type, but it was certainly worth a look.
47: Pet Sematary
It's not hard to impress when the bar is set a little lower. The original Pet Sematary was a fair film, and this is a fair remake that offers a little more visual punch. The film looks good, plain and simple. Unfortunately, I can't say I found it memorable, especially regarding the cast and the way its story is told. I still gravitate towards the '89 film for its grit and storytelling, which does resonate a little better.
46: Rambo: Last Blood
John Rambo's last mission takes him to the edge of America's borders, where he's forced to unleash that inner soldier again and make a last stand against Mexican cartel members. This is fine and all, but for what may be the character's swansong it's unsatisfying in its execution. The kills are gruesome, Rambo is still a badass, but this barely even feels like a Rambo movie. Maybe it's overshadowed by better pictures like Sicario, or maybe this is a battlefield Rambo shouldn't have been in the first place. Fans will undoubtedly drink it in all the same, but I was hoping for a better send-off.
45: Fyre
So,
this is a thing that happened...except it didn't. This Netflix
documentary explains in a fair amount of detail the 2017 Fyre Music
Festival that turned out to be fraudulent. Thousands of folks were
gypped into travelling to the Bahamas, only to find no festival and
squalid living conditions. Having missed this in the news and such, the
film was an eye-opener, and one of many things these days that reveals
how fickle truth and reality can be in today's age. Can't say the film
does anything spectacular with its style, editing, or narrative, but the
content is noteworthy.
44: In The Tall Grass
This
film might overstay its welcome a bit, but I found it interesting all
the same. It's a taut and unreal thriller that finds its characters lost
in a grassy maze for long stretches of time, drawn out through the
mystery of surrealist horror. It bears the mark of a Stephen King short
story when it's set to Lovecraft-inspired mode. Its final moments pushes
the narrative into the realms of bizarre construction that makes other
films like 2009's Triangle intriguing. That is, if you can get to that point without becoming bored.
43: Godzilla: King of the Monsters
Bigger is not always better. Gareth Edwards had schooled all of us before that less is more, and his 2014 version of Godzilla
was at its best when it built itself up to showing the giant creatures
in their destructive brawls. It also helped that it had a semblance of
character-building and story. This new all-out attack takes the opposite
direction, choosing to show us in all its remarkable detail the full
view of Godzilla, Mothra, Rodan, and Monster Zero rampaging across the
world. The loud and indulgent disaster scenes flatten the story that
glues it all together. But then, it's not like the older films were
known for their story or characters either. I guess that makes
Dougherty's efforts par for course? But at least the soundtrack is cool.
42: Aladdin
Guy
Ritchie turned one of Disney's most celebrated animated films into a
live-action epic with little impact or fanfare. It really doesn't help
that Will Smith (of all people) has to perform in Robin Williams'
shadow, while the rest of the cast energetically commits to this goofy
musical set in a pseudo-Indian setting that makes absolutely no sense
for an ARABIC folk tale. And yet, the film is surprisingly breezy and
fun. Maybe because it sticks close enough to the cartoon that its story
and character beats fall into place just fine. Maybe because the music
is still catchy and the dancing isn't too terrible to watch. Maybe
because the jokes aren't totally cringey. Maybe it's the zing of the
performances. Maybe it's the snappy editing. What is it about this film?
Why is this so watchable? I should hate it for its flaws, but I don't. I
don't love it either. But for some reason, this may be a better
standout than the bajillion other live-action fairy tales we're given
year after year. Sure beat the snot out of Tim Burton's Dumbo.
41: Dark Phoenix
I might have been duped in thinking that the gravitas of Dark Phoenix outshines the misguided story and tone of X-Men: The Last Stand. At first glance, I came out of Dark Phoenix impressed by the weight of its characters and the emotional toil they go though. I felt the mood of Hans Zimmer's score, saw the tears that Sophie Turner shed, and admired the straightforward way the film shows Jean Grey's transformation into a nihilistic cosmic creature. Unfortunately, these qualities only serve to gloss over other issues--the direction of the revamped X-Men franchise is a bit head-scratching, and this film does little to round off and reconcile existing characters. I can understand X-Men fans being disappointing, but take it as a film focused solely on the Dark Phoenix, and I thought it was just fine. Time will tell if this one took itself too seriously or not.
40: Terminator: Dark Fate
Sixth movie of the series, but the third time the series has been rebooted by branching off of T2: Judgment Day.
What helps now is that, supposedly, James Cameron had input on the
story. More importantly, Linda Hamilton is back, baby! And Ahnold! They
lend the movie a greater level of credibility than its script probably
deserves--the film still manages to fumble its story as it kills off the
past and forges a new timeline with new characters we really can't care
for as deeply. I can understand why some fans hate this--I found some
new directions interesting, some less so, and the film overall is a fair
action-movie experience.
39: 6 Underground
 |
| No Sneaker Pimps though? Come on! |
This
is more Michael Bay than Michael Bay. So much so, it's not even funny. I
even wonder if the film itself is Bay's response to critics for years
of complaining about disaster porn, style over substance, distasteful
characters, and jingoism. It's all on full display here too, but cranked
up to an insanely obnoxious degree. The only reason I rank it this high
is because I've always admired Bay's cinematography, and it's as vivid
here as ever. Action scenes are among the most spectacular of the year
(even when they become hyperviolent and nihilistic). Folks complain that
the story is confusing, but I beg to differ--it's nothing more than
Bay's variation on The Expendables, and it can be a hoot at times. Still, definitely not for the feint of heart.
A fair film, and one that may hit home for many folks who face the societal pressures of racism and gentrification. It may ring truest in the shadow of ongoing problems that San Francisco faces. There are bursts of visual and intellectual brilliance, and I can't fault the performances, cinematography, or the music. I'm just not in love with the film's pacing or plotting.
38: The Last Black Man In San Fransisco
A fair film, and one that may hit home for many folks who face the societal pressures of racism and gentrification. It may ring truest in the shadow of ongoing problems that San Francisco faces. There are bursts of visual and intellectual brilliance, and I can't fault the performances, cinematography, or the music. I'm just not in love with the film's pacing or plotting.
37: Seattle Is Dying
It just so happens that in 2019, I visited Seattle and saw for myself the crisis emerging in the form of sporadic tents and wandering homeless folks. I've come to learn that the issue extends into areas of California, Oregon, and other parts of the country. For Seattle specifically, this documentary offers a unflinching eye at the plight. I would grade this film higher and consider it more important viewing if it wasn't for its political slants and the fact that this is literally just a long news report.
36: Yesterday
Hey dude. Imagine there are no Beatles. It's easy if you try. When one man finds himself in times of trouble, he can't let it be. While his guitar gently weeps, the film shows how all the lonely people come together with a little help from their friends. It's a rather pleasant film you can relax to and float downstream. I believe in Yesterday. I mean, I wish it had a bit more zing to it, but maybe love is all you need.
35: Booksmart
It's like Superbad
for nerdy girls. The film's style is solid, showcasing the antics of
Beanie Feldstein and Kaitlyn Dever as they inhabit a pair of characters
who are consistently fun to watch. Their banter often ventures into
raunchy territory, but it's not quite as distasteful as other modern
comedies. Can't say the film overall really resonated with me
personally, but it's solid.
34: Rocketman
A
fantastic representation of Elton John--literally, a film full of
fantasy, to the point where it blurs reality and goes so far as
fictionalizing its drama for the sake of story. I mean, what biopic
doesn't, especially regarding musicians? The film is pretty well-shot
and well-acted, and the music will definitely make fans get up and
dance. The musical/fantasy angle is rather jarring though. And I gotta
say, I was never an Elton John fan to begin with--this does little to
excite me in the end. Give me the David Bowie fantasy musical film
(other than Labyrinth), then we'll talk.
33: Tolkien
Just as Rocketman dipped its main character into his own CGI world of fantasy, so too does Tolkien
immerse JRR Tolkien in a hellscape that conflates WWI battlefields with
Middle Earth. The effect is pretty awesome, even in a film that jerks
with uneven pacing. The film's execution seems to paint by the numbers,
but I find myself admiring the way it addresses Tolkien's influences,
including the literary, the beauty and brutality of the world, and the
exploration of language. Maybe nothing remarkable, but I do admire the
subject matter, and I probably remember this film best for its less
exciting scenes where they discuss words rather than war. From a
writer's perspective, this can be a neat film.
32: The Man Who Killed Don Quixote
This
is a special one. Terry Gilliam slaved over a Don Quixote adaptation
for about thirty years, and just when it seemed to come together in 2000
the production fell apart in a horribly spectacular fashion. The fact
that this film exists at all may be an inspiring testament to Gilliam's
resilience and patience--something artists everywhere ought to look up
to.
Unveiled at long last, the final product is...okay. There are bursts of creativity, energy, and quality throughout, but the beginning act can be a slog, and the plot never really clicked with me until the actual Don Quixote stuff started happening. Can't fault the actors much, and the production is very imaginative and interesting. Something about it could have been fleshed out better.
Unveiled at long last, the final product is...okay. There are bursts of creativity, energy, and quality throughout, but the beginning act can be a slog, and the plot never really clicked with me until the actual Don Quixote stuff started happening. Can't fault the actors much, and the production is very imaginative and interesting. Something about it could have been fleshed out better.
31: Glass
M
Night Shyamalan has somehow been Hollywood's best and worst director
over the past twenty years. After making a surprising and succinct
comeback with 2017's Split, he delivers a superhero mash-up film that bridges his last film and Unbreakable.
True to the style of all these films, it's less focused on the actual
fighting and more interested in crafting a twisty thriller in the
confines of a mental hospital. I can't say the film is that well-written
or executed, but it has some genuinely thrilling moments and it's a
fair payoff for the two stand-alone movies Shyamalan previously gave us.
In an age where Marvel and DC are always giving us violence and
destruction, it is rather refreshing to see a film rooted in characters
and ideas.
30: Anna
Stuck in the shadow of Atomic Blonde and Red Sparrow, but also a bit ahead of Black Widow, Anna seems to be part of a new wave of spy flicks that focus specifically on Russia. Maybe because of that, Anna
also feels like more of the same, with little new or special to set it
apart. Cliche-ridden, in fact, despite how twisty the narrative becomes.
But leave it to Luc Besson to shoot such generic nonsense with
flair--what the film lacks in distinctiveness and action, it makes up
for by looking good. I found myself liking the characters just fine, and
it made the experience perfectly watchable.
29: Gemini Man
This plays out a bit like Looper, especially given the premise of a guy fighting a version of himself. Gemini Man
has a bland veneer, but it's palatable thanks to Ang Lee's competent
direction, Will Smith's commitment to action (which is pretty cool, I'll
admit), and the script, which does manage to elicit some interesting
"what if?" questions despite other weaknesses. This won't have much
staying power, but it's far more entertaining than it has any right to
be.
28: Captain Marvel
Early
in 2019, Captain Marvel whetted fans appetites for the eventual
Endgame, and set up a promise that we'd some some incredible power on
display. Carol Danvers' stand-alone adventure isn't a bad way to spend a
couple of hours--there is eye-popping action and a few good laughs to
be had. Her arc of empowerment has its inspiring moments. The experience
is hampered only by the paint-by-the-numbers execution that has come to
characterize most of Marvel's pictures. Captain Marvel in
particular suffers from this more, as it comes off as less memorable,
more formulaic, and it does little to mask its own purpose as connective
tissue to future films. But hey, weren't the 90s cool?
27: The Lion King
There's little surprise in the live-action (or rather, CGI-animated?) Lion King. It follows the original 90s film scene-by-scene, offering just a little variance that does little to affect the overall story. Its emotions and themes don't feel as genuine, but this is a story that's hard to flub, and the film pulls it off just fine. And hot dang, the photorealistic graphics are beautiful to look at.
26: How To Train Your Dragon: The Hidden World
For a third time, we're shown a wonderful, heartfelt adventure in a world of dragons. The Hidden World
has its fair share of awe, wonder, and heart, as it continues (and
perhaps even concludes) Hiccup's coming-of-age arc and focuses a bit on
Toothless finding love. While the last couple of movies won me over with
their character arcs, this on falls a little short thanks to its weak
villain, which does little to challenge and change the hero in any
significant way. Despite all the visual majesty, the occasional laugh,
and the occasional eye-popping action scene, the film has flatter arcs
and feels less significant than its predecessors. Even the romance
between Toothless and the Light Fury could have used more finesse.
Fortunately, these issues don't hamper the film's efforts to round off
the series--it does its job well at providing a satisfactory conclusion.
25: The Lego Movie Part 2: The Second Part
This
movie is like the little sister to a bigger movie. The
second foray into the world of Legos doesn't feel quite as epic or
hilarious as the first, given that the film falls back on rehashing
jokes and hinging on the charm of the characters. The film feels shorter
and less punchy. And yet, it does have a few
original moments, including a fun soundtrack, interesting character
directions, and clever expansions on the core idea behind the Lego
fantasy. It's a breezy, fun, and pairs well with the first chapter.
24: Furie (Hai Phuong)
This unassuming Vietnamese thriller offers a rather simple premise, the likes of which we've seen in other action pictures (Taken,
for example). And yet, the film remains captivating through its style
(which paints its rural landscapes with such grungy and colorful detail)
and its focus on character relationships. It works because we can care
for the lead character and her daughter. Fight scenes won't blow anybody
away, but are modestly satisfying to watch. Same can be said of the
film, but I give it the edge for having a story that fundamentally
works.
23: Shazam!
Perhaps
the biggest surprise of the year--while the film won't transcend its
genre tropes in a particularly grand way, it is well-executed and puts
the focus smartly on the character and the way he learns responsibility
through having powers granted to him. There is a level of heart that
reminds viewers of older hits like Big, and the film's best
laughs will come from Zachary Levi and the way he plays up the disparity
between the adult world and his character. It is a nice, harmless,
heartwarming story, and probably the most wholesome movie of the year.
22: Hail Satan?
A
straightforward documentary with an insightful objective: to shed light
on the Satanic Temple. It seems like an abominable subject, but the film unearths surprising motives and ideals that reach
beyond religion and stab at the heart of political issues. One can't
help but to sympathize with rebels, especially when they stand up for
freedom in America. I don't think it's a particularly good idea to
partake in these rituals or to worship Baphomet, but the film
shows that these are mostly optics to symbolize ultimate rebellion.
The film is quite valuable for shedding light on this radical sliver of
American activism.
21: Shadow (Ying)
The
latest, visually sumptuous epic from Zhang Yimou delivers just what it
promises--duality. Black and white. Men and women. Love and war. It's
woven together with stunning photography that captures its monochrome
battles in flowing motion, expert choreography, and polished quality.
The story is a bit stiff, but it has enough nuance and intrigue to keep
it interesting. It's been a long time since a wuxia film wowed me--this
satisfied my thirst just fine.
20: Star Wars Episode IX: Rise of Skywalker
The ninth film in one of my most beloved film sagas delivers what was promised--a conclusion, action-packed and guaranteed to elicit a smile and a tear. I can't even remember the last time spectacular stunts really wowed me, but watching Rey leap over a TIE fighter and slice its wing off may be the awesomest thing I've seen all year. The fast-paced adventure is stuffed with blaster shootouts, lightsaber duels, space battles, and more. I can't say I'm at all pleased with the slapdash plot and the way it's glued together with exposition and some of the bluntest dialogue I've heard (to say nothing of the clunky way it handles the fallout of The Last Jedi, going so far as reversing some important story decisions for the worst). The film probably makes the mistake of playing things too safe, sacrificing bold storytelling to give audiences what they want in terms of story decisions and nostalgia. However, it's still an enjoyable romp thanks to the sheer quality of the visuals, the snappy editing, the personalities of the actors, and above all, heart. If this is one last look at our friends from a galaxy far far away, it's at least a look of fondness.
19: Marriage Story
This unassuming Netflix feature plays out like a modern-day Kramer vs Kramer.
Set in the current era, a failing marriage is explored in the context of
modern law practices, modern norms, and modern parenting. As each side
is scrutinized, tension bears down on the characters until sheer outrage
and sorrow bleeds out of the characters (with superb dedication from
Adam Driver and Scarlett Johansson, both of whom exude emotion and
personality well). Can't say I enjoyed the pacing all of the time, but
it is a worthwhile experience that made me care for a family slowly
coming apart.
18: One Child Nation
If you've studied anything about modern Chinese society, chances are you
may have heard of their one-child policy circa 1979. Jialing Zhang and
Nanfu Wang take the camera across the mainland to show us real faces and
voices of those affected by the policy--not only is it eye-opening,
it's also a compelling study of humanity, or the lack thereof, in the
shadow of authoritarian power. Like any good documentary should, this
film exposes truth in a way that's hard to ignore. This is a truth that
1.4 billion Chinese citizens face. Hearing their stories is perhaps long
overdue.
17: The Irishman
Martin
Scorsese may have outdone himself, crafting a sprawling
three-and-a-half hour chronicle of Jimmy Hoffa through the eyes of the
titular Irishman, Frank Sheeran. The story unfolds at a leisurely pace,
giving all the space in the world for Robert DeNiro and Al Pacino to
dominate each scene (with a respectable supporting cast to boot). The
film bears all the usual Scorsese trademarks--lucid cinematography,
characteristic voiceovers, real-looking locations, unflinching
bloodshed, and a dedicated attention to historic detail. This isn't a
film I found nearly as compelling as the majority of other Scorsese
pictures, but I wouldn't fault anybody for giving this praise--it's a
fair effort from a talented cast and crew, and that alone makes it
above-average.
16: Spider-Man: Far From Home
In the aftermath of Endgame, Spider-Man gets his European Vacation. On-par with Homecoming,
the focus remains on Peter Parker's high-school relationships in the
midst of juggling school work with SHIELD work. There are some
interesting surprises in this film, many of which I found endearing and
interesting. Action scenes and visual effects don't disappoint, of
course, but the story remains interesting as it positions Spider-Man as a
potential successor to Tony Stark, perhaps even suggesting a new
through-line for the next Marvel phase. It's a fair storyline in a movie
that's pretty packed with excitement, humor, and personality.
15: Ad Astra
14: Dragged Across Concrete
 |
| These guys are not too old for this sh*t. |
13: IT Chapter Two
12: Alita: Battle Angel
11: John Wick Chapter 3: Parabellum
10: Avengers: Endgame
9: Toy Story 4
 |
| See you space man and cowboy. |
While most movie franchises might teeter out by the fourth entry, Pixar manages to keep its fourth Toy Story
entry just as relevant, deep, and emotional as all its predecessors.
Even with its growing list of characters, the actual toy story manages
to juggle all its threads in a balanced away, weaving complex themes of
friendship and existentialism through all its heartfelt encounters. And
it does all this while looking good and being funny.
8: Doctor Sleep
It would have been easy to flub up a sequel to Kubrick's The Shining, just as much as it'd be easy to flub a direct take on King's actual text. The film manages to do the story justice by having it both ways, pulling off a balancing act between Kubrick's and King's visions. I've always admired this story, which follows Danny Torrance through dark paths that I find compelling. The expanded lore of the stories introduce new threats (including new villains--Rose the Hat is one mean chick) and sends the characters on a twisty plot that offers interesting revelations and thrills. While the finale understandably deviates from the novel to adhere to Kubrick's film, it does so with a level of reverence I can appreciate. I loved the book, and I'm pretty happy with how the movie came out.
7: Jojo Rabbit
Taika Waititi paints one of the darkest ages of war with his own brand of color and comedy. The effect is twofold: on one hand he creates a shocking contrast that highlights the messed-up ways ideology and indoctrination can perpetuate one of the most inhumane regimes in history. It also adds a surprising level of heart and humanity in a story where such heart and humanity is implicit. Roman Griffin Davis is a champ for emoting his character in a compelling and lovable way, and he stands on the shoulders of an impressive supporting cast. Waititi himself is a hoot to watch in the uniform of an imaginary Hitler. Behind the camera, however, he shows an impeccable attention to the story's craft--all its detail and nuance elevates this film into one of the most fulfilling and heartwarming films of the year.
6: Us
5: Once Upon A Time In...Hollywood
4: Parasite (Gisaengchung)
Leave it to South Korea to deliver one of the most poignant movies of the year. Bong Joon-ho dials back the absurdity and gives us a shockingly plausible scenario in which one family leaches off another. The social commentary punches its audience in the face, and it's not a hit that can be easily walked off. The film sticks because of the actors' dedication, which makes characters on both sides compelling and relatable. They venture through incredible twists that make the tension bubble, until the film slowly boils over into a gut-wrenching finale. It is an incredible story told well--maybe even an important one, bearing universal relevance in a world where social classes continue to rupture apart. Everybody just wants a good quality of life--this film holds up a mirror and shows how the dream can starve under our own parasitic ambitions.
3: Midsommar
 |
| This was also my expression watching this. |
2: Joker
1: Apollo 11
A film fifty years in the making. The historic 1969 mission to the moon
was captured on hundreds of hours of film (including a wealth of
spectacular 70mm footage) and thousands of hours of audio recordings.
Now, in 2019, we can see it in a brisk 93 minutes--all the preparations,
all the little problems that had to be solved, all the pomp, all the
excitement, all the triumph is shown to us as it actually happened.
There is no narration, because none is needed--we can see it happen with
our own eyes, with only Matt Morton's electric score to direct our
mood. We see Buzz Aldrin, Neil Armstrong, Michael Collins, and a massive
team of ground control techs, all in the flesh as they achieve
incredible feats. This is more than a film--it's a piece of literal
history, presented with the elegance and respect of a museum set piece.
As such, this is easily the purest kind of cinema I've seen all year.
Apollo 11 was real, and for a brief time, I felt like I was there with
the astronauts in history.
Least favorite film: Velvet Buzzsaw
Favorite blockbuster: Joker
Favorite arthouse film: Midsommar
Favorite science fiction film: Alita: Battle Angel
Favorite fantasy/epic: Avengers: Endgame
Favorite drama film: Joker
Favorite action film: John Wick Chapter 3: Parabellum
Favorite superhero film: Avengers: Endgame
Favorite comedy film: Jojo Rabbit
Favorite horror film: Midsommar
Favorite documentary: Apollo 11
Favorite animated/family film: Toy Story 4
Favorite foreign film: Parasite
Biggest guilty pleasure: 6 Underground
Most disappointing film: Star Wars: Rise of Skywalker
Favorite male performance: Joaquin Phoenix in Joker
Favorite female performance: Lupita Nyong'o in Us
Favorite line: TBD
Favorite direction: Tod Phillips, Joker
Favorite action scenes: John Wick Chapter 3: Parabellum
Favorite special effects: Alita: Battle Angel
Favorite film score: Apollo 11
Favorite theme song: Beck's "Super Cool" from The Lego Movie Part 2
Favorite musical sequence: "Not Evil" from The Lego Movie Part 2
In the upcoming year, we're expected to have a crap ton of new comic book movies. Given that the Marvel universe wrapped itself up nicely last year, I feel less inclined to flock to the theater to see Black Widow, or the Eternals. Even less certain about Birds of Prey, Wonder Woman 1984, the Green Lantern Corps, or Cyborg (jeez, DC is getting crazy these days). There are some films that I'll probably want to see for curiosity's sake (like Ghostbusters: Afterlife and Bill and Ted Face the Music). That only leaves a few originals that'll pique my interest.
Really, it's these few that excite me the most:
Dune: I think just about every sci-fi nut knows of Dune--I fell in love with it thanks to the 1984 film, the 1993 video game, the 2001 miniseries, and...eventually the original novel. It's always been a good story begging to be given a more proper big-screen treatment. Its time may have finally come with Denis Villeneuve behind the camera. The man already won me over with his thrillers--Sicario, Prisoners, Arrival--but his Blade Runner sequel was a true sight to behold, and I expect the same care and quality put into his Dune adaptation. I'm hoping it'll be THE cinema event of 2020, but even if it comes out as a mere sleeper hit, I'll be satisfied all the same. Either way, I am certain it'll be a hit.
Tenet: A trailer already dropped that raises more questions than it answers. It promises more of what we've seen in other Christopher Nolan films--a steely thriller with a surreal edge that will surely lead us down a twisty and engaging plot. It may be doubly-intriguing given the palindrome title and what seems to be action sequences running backwards in time. This might be the coolest thing since Inception.
Evangelion 3.0 + 1.0: Rebuilding the Evangelion series has been shaky given the production troubles and hiatus following the third film. From what I've read, the fourth (and last?) film of this saga has gone smoothly, and I hope it'll deliver everything awesome that the first two chapters had. They can't make this any more convoluted or messy than the last two episodes of the original show.
No Time To Die: One last ride for Daniel Craig (I assume anyway) as James Bond. There hasn't been a Bond movie I didn't like (save for the 1967 Casino Royale, which I hardly consider to be a "real" Bond film anyway). And even though SPECTRE had its issues, I have hopes the new film will continue the story in a convincing way. If nothing else, the stunts look spectacular.
Here's hoping that the next decade of films will be fruitful, inspiring, and exciting.
--------------------------------------------------
Favorite film: Apollo 11Least favorite film: Velvet Buzzsaw
Favorite blockbuster: Joker
Favorite arthouse film: Midsommar
Favorite science fiction film: Alita: Battle Angel
Favorite fantasy/epic: Avengers: Endgame
Favorite drama film: Joker
Favorite action film: John Wick Chapter 3: Parabellum
Favorite superhero film: Avengers: Endgame
Favorite comedy film: Jojo Rabbit
Favorite horror film: Midsommar
Favorite documentary: Apollo 11
Favorite animated/family film: Toy Story 4
Favorite foreign film: Parasite
Biggest guilty pleasure: 6 Underground
Most disappointing film: Star Wars: Rise of Skywalker
Favorite male performance: Joaquin Phoenix in Joker
Favorite female performance: Lupita Nyong'o in Us
Favorite line: TBD
Favorite direction: Tod Phillips, Joker
Favorite action scenes: John Wick Chapter 3: Parabellum
Favorite special effects: Alita: Battle Angel
Favorite film score: Apollo 11
Favorite theme song: Beck's "Super Cool" from The Lego Movie Part 2
Favorite musical sequence: "Not Evil" from The Lego Movie Part 2
--------------------------------------------------
2020 Films Al Is Looking Forward To
In the upcoming year, we're expected to have a crap ton of new comic book movies. Given that the Marvel universe wrapped itself up nicely last year, I feel less inclined to flock to the theater to see Black Widow, or the Eternals. Even less certain about Birds of Prey, Wonder Woman 1984, the Green Lantern Corps, or Cyborg (jeez, DC is getting crazy these days). There are some films that I'll probably want to see for curiosity's sake (like Ghostbusters: Afterlife and Bill and Ted Face the Music). That only leaves a few originals that'll pique my interest.
Really, it's these few that excite me the most:
Dune: I think just about every sci-fi nut knows of Dune--I fell in love with it thanks to the 1984 film, the 1993 video game, the 2001 miniseries, and...eventually the original novel. It's always been a good story begging to be given a more proper big-screen treatment. Its time may have finally come with Denis Villeneuve behind the camera. The man already won me over with his thrillers--Sicario, Prisoners, Arrival--but his Blade Runner sequel was a true sight to behold, and I expect the same care and quality put into his Dune adaptation. I'm hoping it'll be THE cinema event of 2020, but even if it comes out as a mere sleeper hit, I'll be satisfied all the same. Either way, I am certain it'll be a hit.
Tenet: A trailer already dropped that raises more questions than it answers. It promises more of what we've seen in other Christopher Nolan films--a steely thriller with a surreal edge that will surely lead us down a twisty and engaging plot. It may be doubly-intriguing given the palindrome title and what seems to be action sequences running backwards in time. This might be the coolest thing since Inception.
Evangelion 3.0 + 1.0: Rebuilding the Evangelion series has been shaky given the production troubles and hiatus following the third film. From what I've read, the fourth (and last?) film of this saga has gone smoothly, and I hope it'll deliver everything awesome that the first two chapters had. They can't make this any more convoluted or messy than the last two episodes of the original show.
No Time To Die: One last ride for Daniel Craig (I assume anyway) as James Bond. There hasn't been a Bond movie I didn't like (save for the 1967 Casino Royale, which I hardly consider to be a "real" Bond film anyway). And even though SPECTRE had its issues, I have hopes the new film will continue the story in a convincing way. If nothing else, the stunts look spectacular.
Here's hoping that the next decade of films will be fruitful, inspiring, and exciting.
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