-
Ever wanted an RSS feed of all your favorite gaming news sites? Go check out our new Gaming Headlines feed! Read more about it here.
-
We have made minor adjustments to how the search bar works on ResetEra. You can read about the changes here.
ResetERA Movies of the Year 2019 - Voting Thread (Ends 24th of February, 00:00 GMT)
- Thread starter Kazaam
- Start date
I just finished to watch Knives Out and made it on the list.
1. The Irishman
2. Marriage Story
3. Knives Out
4. Joker
5. Klaus
6. Parasite
7. Uncut Gems
8. The Lighthouse
9. Pain and Glory
10. Godzilla: King of the Monsters - Best pieces of action that I saw last year
1. The Irishman
2. Marriage Story
3. Knives Out
4. Joker
5. Klaus
6. Parasite
7. Uncut Gems
8. The Lighthouse
9. Pain and Glory
10. Godzilla: King of the Monsters - Best pieces of action that I saw last year
I'm still missing a few big ones, but I wanted to post a list before the bell sounds.
1. The Lighthouse
2. Jojo Rabbit
3. Marriage Story
4. Avengers: Endgame
5. The Last Black Man in San Francisco
6. Once Upon a Time...in Hollywood
7. Hustlers
8. Knives Out
9. The Art of Self-Defense
10. Dolemite is My Name
1. The Lighthouse
2. Jojo Rabbit
3. Marriage Story
4. Avengers: Endgame
5. The Last Black Man in San Francisco
6. Once Upon a Time...in Hollywood
7. Hustlers
8. Knives Out
9. The Art of Self-Defense
10. Dolemite is My Name
1. Parasite - Pretty much a perfect movie. Glad it got so much recognition, the first half is a great caper and the second half is some of the most tense I've ever been at a movie since No Country For Old Men.
2. The Lighthouse - Surprisingly hilarious, both Dafoe and Pattinson are great and it has some really striking imagery.
3. Marriage Story - Adam Driver was robbed. Also I cried at the end.
4. 1917 - I'm not a huge war movie fan but 1917 completely won me over. An amazing audiovisual feat with two standout leads.
5. Dolemite Is My Name - I'm also not a huge comedy movie fan but holy shit this was hilarious the entire time. Eddie Murphy and Wesley Snipes are a joy to watch and it's the best feel good movie of the year.
6. The Farewell - A great look at the differences between American and Chinese culture with a fantastic ensemble cast. A perfect blend of drama and comedy.
7. Midsommar - I actually wrote a thread on here when I first came out of the theater about how amazing the opening was but then how it dropped off a cliff after that. Needless to say my opinion has changed dramatically since then. The fact that the audience was really bad didn't help my first time but more introspection is the real culprit here. First off, yes the movie has a serious problem with people doing incredibly stupid things which is a shame and yes it's not perfect like Hereditary. But Florence Pugh gives the performance of a lifetime, it has some of the best examples of hallucinogens ever put to screen (right up there with Fear and Loathing in Las Vegas), and has an ending that I still think about today.
8. I Lost My Body - I only saw this yesterday but I doubt recency bias plays a big part because the soundtrack is just wonderful and while the animation is stiff at times due to a low framerate, the images themselves are beautiful and the creativity is great.
9. Uncut Gems - A step down from Good Time imo but the Safdie brothers still know how to convey constant anxiety better than pretty much anyone else. The last 30 minutes of the movie are sooooooo good and it's great seeing Kevin Garnett play an alternate universe version of himself.
10. Jojo Rabbit - "Our only friends are the Japanese and just between you and me, they don't look very Aryan". A very interesting movie filled to the brim with Taika's wit, it has some incredibly touching moments between Jojo and ScarJo and Thomasin McKenzie.
Movies that I didn't get to see that I still want to: Portrait of a Lady on Fire, Klaus, Ready or Not, Knives Out, Little Women, A Hidden Life, Pain and Glory, Hustlers, John Wick 3, Brightburn, Doctor Sleep and more.
Movies that I liked but not enough to make my list:
The Irishman - Not as good as Goodfellas but really enjoyed Pacino's Jimmy Hoffa, just a joy to watch
The Missing Link - A noticeable step down from Kubo imo but it's still Laika so it's still insanely beautiful
Ford v Ferrari - Yeah it's a pretty by the numbers story but it's well crafted and well executed. Don't really have any complaints.
High Life - I'm all for hypersexual stuff but at times this felt like parody. Still really enjoyed all the sci-fi aspects and designs of the movie and it kept me engrossed throughout.
Climax - It's clear Gaspar Noe has never taken acid before but I can forgive that with how beautiful this film is shot and how strong the acting is.
Honey Boy - It would be easy to fuck this movie up just due to the concept but it comes across as an incredibly genuine and personal look into abuse, child stardom and more. Big props to Shia for writing this.
El Camino - It's an above average BB episode, wish it took more risks but it's still solid.
Movies that I was meh on/enjoyed despite some flaws/didn't enjoy but had redeeming aspects:
Toy Story 4 - It was really pretty and a good sendoff for Woody but was also a big step down from 1 and 2 and didn't have anything as powerful as the incinerator scene or climax from 3. Also kinda sidelined all the other characters, neat take on a villain though.
Avengers: Endgame - Wasn't expecting it to live up to Infinity War and it didn't, had some cool sequences though and was a good cap on the main MCU.
Captain Marvel - Unremarkable outside of the action scenes, which I really enjoyed.
Joker - Reminds me of Bioshock Infinite in that it wants to pretend it has a lot to say and themes to tackle but in reality is ultimately very shallow. Has a good soundtrack and cinematography though and Joaquin's performance was a standout, even if I thought he's been better in past roles.
Spiderman: Far From Home - It's a Spiderman movie. I enjoyed it. Wish Gyllenhaal got more to do though and everything surrounding EDITH was garbage.
It Chapter 2 - A huge step down from the first one, a lot of pacing issues and a hilariously misguided ending. Still the casting was really good and Hader carried the movie on his back.
Pet Sematary - Unremarkable but I'm a sucker for horror.
Us - The opening is really really good. The next 20 minutes are pretty good. Then it falls apart especially with the exposition-heavy end. Parasite did a lot of its ideas much better and was a disappointment coming from Get Out.
Ad Astra - Speaking of movies that fall apart at the end.... It has a lot of really cool sci-fi setpieces and the like but the last ~25 minutes are so monumentally stupid it soured me on the rest.
The Last Black in San Francisco - Amazing soundtrack and visuals but didn't really care about anything else.
Once Upon a Time in Hollywood - A huge disappointment, probably my least favorite Tarantino movie. The set design, soundtrack and acting all save it from ending up in my bottom tier though.
The Two Popes - Completely whitewashes a ton of issues with the Catholic Church imo and was pretty slow but both Jonathan Pryce and Anthony Hopkins were fun to watch.
Booksmart - I wish I enjoyed this as much everyone else seems to. Yeah it's an updated Superbad that's probably a little better and has more heart but at the end of the day I didn't think it was anything special.
The Report - I completely forgot I watched this until just now. So lol
The King - Worth watching just for Pattinson's attempt at a French accent
Movies that I didn't like at all:
The Souvenir - I know it was depicting a toxic relationship but I couldn't get into it at all due to the man having absolutely 0 redeeming qualities the entire movie.
Star Wars: The Rise of Skywalker - I've talked at length about my issues with this one already in the spoiler threads. A mess.
2. The Lighthouse - Surprisingly hilarious, both Dafoe and Pattinson are great and it has some really striking imagery.
3. Marriage Story - Adam Driver was robbed. Also I cried at the end.
4. 1917 - I'm not a huge war movie fan but 1917 completely won me over. An amazing audiovisual feat with two standout leads.
5. Dolemite Is My Name - I'm also not a huge comedy movie fan but holy shit this was hilarious the entire time. Eddie Murphy and Wesley Snipes are a joy to watch and it's the best feel good movie of the year.
6. The Farewell - A great look at the differences between American and Chinese culture with a fantastic ensemble cast. A perfect blend of drama and comedy.
7. Midsommar - I actually wrote a thread on here when I first came out of the theater about how amazing the opening was but then how it dropped off a cliff after that. Needless to say my opinion has changed dramatically since then. The fact that the audience was really bad didn't help my first time but more introspection is the real culprit here. First off, yes the movie has a serious problem with people doing incredibly stupid things which is a shame and yes it's not perfect like Hereditary. But Florence Pugh gives the performance of a lifetime, it has some of the best examples of hallucinogens ever put to screen (right up there with Fear and Loathing in Las Vegas), and has an ending that I still think about today.
8. I Lost My Body - I only saw this yesterday but I doubt recency bias plays a big part because the soundtrack is just wonderful and while the animation is stiff at times due to a low framerate, the images themselves are beautiful and the creativity is great.
9. Uncut Gems - A step down from Good Time imo but the Safdie brothers still know how to convey constant anxiety better than pretty much anyone else. The last 30 minutes of the movie are sooooooo good and it's great seeing Kevin Garnett play an alternate universe version of himself.
10. Jojo Rabbit - "Our only friends are the Japanese and just between you and me, they don't look very Aryan". A very interesting movie filled to the brim with Taika's wit, it has some incredibly touching moments between Jojo and ScarJo and Thomasin McKenzie.
Movies that I didn't get to see that I still want to: Portrait of a Lady on Fire, Klaus, Ready or Not, Knives Out, Little Women, A Hidden Life, Pain and Glory, Hustlers, John Wick 3, Brightburn, Doctor Sleep and more.
Movies that I liked but not enough to make my list:
The Irishman - Not as good as Goodfellas but really enjoyed Pacino's Jimmy Hoffa, just a joy to watch
The Missing Link - A noticeable step down from Kubo imo but it's still Laika so it's still insanely beautiful
Ford v Ferrari - Yeah it's a pretty by the numbers story but it's well crafted and well executed. Don't really have any complaints.
High Life - I'm all for hypersexual stuff but at times this felt like parody. Still really enjoyed all the sci-fi aspects and designs of the movie and it kept me engrossed throughout.
Climax - It's clear Gaspar Noe has never taken acid before but I can forgive that with how beautiful this film is shot and how strong the acting is.
Honey Boy - It would be easy to fuck this movie up just due to the concept but it comes across as an incredibly genuine and personal look into abuse, child stardom and more. Big props to Shia for writing this.
El Camino - It's an above average BB episode, wish it took more risks but it's still solid.
Movies that I was meh on/enjoyed despite some flaws/didn't enjoy but had redeeming aspects:
Toy Story 4 - It was really pretty and a good sendoff for Woody but was also a big step down from 1 and 2 and didn't have anything as powerful as the incinerator scene or climax from 3. Also kinda sidelined all the other characters, neat take on a villain though.
Avengers: Endgame - Wasn't expecting it to live up to Infinity War and it didn't, had some cool sequences though and was a good cap on the main MCU.
Captain Marvel - Unremarkable outside of the action scenes, which I really enjoyed.
Joker - Reminds me of Bioshock Infinite in that it wants to pretend it has a lot to say and themes to tackle but in reality is ultimately very shallow. Has a good soundtrack and cinematography though and Joaquin's performance was a standout, even if I thought he's been better in past roles.
Spiderman: Far From Home - It's a Spiderman movie. I enjoyed it. Wish Gyllenhaal got more to do though and everything surrounding EDITH was garbage.
It Chapter 2 - A huge step down from the first one, a lot of pacing issues and a hilariously misguided ending. Still the casting was really good and Hader carried the movie on his back.
Pet Sematary - Unremarkable but I'm a sucker for horror.
Us - The opening is really really good. The next 20 minutes are pretty good. Then it falls apart especially with the exposition-heavy end. Parasite did a lot of its ideas much better and was a disappointment coming from Get Out.
Ad Astra - Speaking of movies that fall apart at the end.... It has a lot of really cool sci-fi setpieces and the like but the last ~25 minutes are so monumentally stupid it soured me on the rest.
The Last Black in San Francisco - Amazing soundtrack and visuals but didn't really care about anything else.
Once Upon a Time in Hollywood - A huge disappointment, probably my least favorite Tarantino movie. The set design, soundtrack and acting all save it from ending up in my bottom tier though.
The Two Popes - Completely whitewashes a ton of issues with the Catholic Church imo and was pretty slow but both Jonathan Pryce and Anthony Hopkins were fun to watch.
Booksmart - I wish I enjoyed this as much everyone else seems to. Yeah it's an updated Superbad that's probably a little better and has more heart but at the end of the day I didn't think it was anything special.
The Report - I completely forgot I watched this until just now. So lol
The King - Worth watching just for Pattinson's attempt at a French accent
Movies that I didn't like at all:
The Souvenir - I know it was depicting a toxic relationship but I couldn't get into it at all due to the man having absolutely 0 redeeming qualities the entire movie.
Star Wars: The Rise of Skywalker - I've talked at length about my issues with this one already in the spoiler threads. A mess.
Last edited:
1. Long Day's Journey Into Night
This has been penciled in as my favorite for a while, and as I suspected nothing was able to top it in 2019. Bi Gan has quickly established himself as a force in ponderous, delicate, dreamlike filmmaking, and this is a logical step forward from Kaili Blues.
2. Portrait of A Lady On Fire
Just an all around gorgeous movie. For as good as the acting and overall craftsmanship of this is, it's the deeply felt subtleties and flourishes that catapulted this over most everything else on the list for me. It does that magical things the best of movies can do where it feels like you're seeing something for the first and last time- moments captured that can never be recaptured, both in the fiction of the movie and the technique of how it was done.
3. Parasite
I'm not always fully on board with Bong Joon-ho, but his madcap genre mashing worked 100% for me this time. Alongside Knives Out, Parasite is maybe the most devilishly fun movie of the year, but its aim is so much wider than that. The fact that Parasite lands every beat of this stuffed, ever surprising narrative is a testament to the seasoned mind behind the whole thing.
4. Little Women
There's always room on my lists for a charming costume drama (don't judge me), so this one, with its fantastic cast and unexpected storytelling accents, was a no brainier. You want to live in this movie long past its runtime, it's made of pure warmth. Greta Gerwig leveled up.
5. Uncut Gems
The Safdie Brothers are the kings of unrelenting, brash, immersive ground level stories right now. This one didn't hit me quit as hard and fast as Good Time, that movie being a tight and pointed slice of unlikable neon grime, but the fact that they were able to translate that style to a story with a wider scope and more expository material is nothing to scoff at. Whether you know the outcome of the central gambling plot or have no idea how any of this stuff functions, Uncut Gems works as an exercise in ratcheting tension. This is a movie that is always going for double or nothing.
6. The Lighthouse
Robert Eggers avoids the sophomore slump with a movie that shares a common thread with The Witch's best qualities while doing something completely different. Where The Witch felt like a simmering pot of atmosphere that slowly and carefully laid the foundations for the final act, The Lighthouse is steeped in theatrical capital A acting and throwback formal elements that ramp and ramp to a rolling boil of intensity. As with The Witch, this movie's greatest strength is that it feels like something dropped out of a different era. Both the big monologues in here could stand on thier own and still make the list.
7. High Life
Claire Denis continues her reign of sensual, singular movies with this sexual space odyssey. There's so much weird shit in here that barely works, I can't even begin to describe any of it without contemplating kicking it off the list. What a goddamn ending though.
8. Atlantics
Speaking of Claire Denis, Mati Diop crafts a supernatural romance in Atlantics that you can tie back to Denis' brand of melancholy. That same kind of tender, genuine emotion runs throughout Atlantics and, alongside intermittent spacey synths and a camera as interested in the texture of the world as the characters, gives this movie an inviting seaside calm for the genre elements at the fringe to creep through. MOOD.
9. In Fabric
Speaking of texture, Peter Strickland returns with a hugely under the radar followup to 2014's The Duke of Burgundy where his fascination with tangibility in texture and sound design come to the forefront. At face value this is a horror-satire about a killer dress. Yes a KILLER DRESS. On a deeper, more spiritual level this is a David Lynch ASMR video. I am aiming this take at a very specific kindred soul. If any of these words stand out to you, watch this weird ass movie.
10. Aniara
The most concentrated space sci-fi dread I can recall in a while. This depressing stuff gets me going. There's something to be said about the combination of small budgets, big ambition, and commitment to the narrative.
Honorables:
- Birds of Passage
- Ash Is Purest White
- The Last Black Man in San Francisco
- A Hidden Life
- Monos
- Ad Astra
- The Farewell
- Marriage Story
- The Irishman
- The Nightingale
So with like a dozen+ movies I still need to get to from 2019, this is the best I could do for an ordered top 20 at this point. I'm satisfied with it.
This has been penciled in as my favorite for a while, and as I suspected nothing was able to top it in 2019. Bi Gan has quickly established himself as a force in ponderous, delicate, dreamlike filmmaking, and this is a logical step forward from Kaili Blues.
2. Portrait of A Lady On Fire
Just an all around gorgeous movie. For as good as the acting and overall craftsmanship of this is, it's the deeply felt subtleties and flourishes that catapulted this over most everything else on the list for me. It does that magical things the best of movies can do where it feels like you're seeing something for the first and last time- moments captured that can never be recaptured, both in the fiction of the movie and the technique of how it was done.
3. Parasite
I'm not always fully on board with Bong Joon-ho, but his madcap genre mashing worked 100% for me this time. Alongside Knives Out, Parasite is maybe the most devilishly fun movie of the year, but its aim is so much wider than that. The fact that Parasite lands every beat of this stuffed, ever surprising narrative is a testament to the seasoned mind behind the whole thing.
4. Little Women
There's always room on my lists for a charming costume drama (don't judge me), so this one, with its fantastic cast and unexpected storytelling accents, was a no brainier. You want to live in this movie long past its runtime, it's made of pure warmth. Greta Gerwig leveled up.
5. Uncut Gems
The Safdie Brothers are the kings of unrelenting, brash, immersive ground level stories right now. This one didn't hit me quit as hard and fast as Good Time, that movie being a tight and pointed slice of unlikable neon grime, but the fact that they were able to translate that style to a story with a wider scope and more expository material is nothing to scoff at. Whether you know the outcome of the central gambling plot or have no idea how any of this stuff functions, Uncut Gems works as an exercise in ratcheting tension. This is a movie that is always going for double or nothing.
6. The Lighthouse
Robert Eggers avoids the sophomore slump with a movie that shares a common thread with The Witch's best qualities while doing something completely different. Where The Witch felt like a simmering pot of atmosphere that slowly and carefully laid the foundations for the final act, The Lighthouse is steeped in theatrical capital A acting and throwback formal elements that ramp and ramp to a rolling boil of intensity. As with The Witch, this movie's greatest strength is that it feels like something dropped out of a different era. Both the big monologues in here could stand on thier own and still make the list.
7. High Life
Claire Denis continues her reign of sensual, singular movies with this sexual space odyssey. There's so much weird shit in here that barely works, I can't even begin to describe any of it without contemplating kicking it off the list. What a goddamn ending though.
8. Atlantics
Speaking of Claire Denis, Mati Diop crafts a supernatural romance in Atlantics that you can tie back to Denis' brand of melancholy. That same kind of tender, genuine emotion runs throughout Atlantics and, alongside intermittent spacey synths and a camera as interested in the texture of the world as the characters, gives this movie an inviting seaside calm for the genre elements at the fringe to creep through. MOOD.
9. In Fabric
Speaking of texture, Peter Strickland returns with a hugely under the radar followup to 2014's The Duke of Burgundy where his fascination with tangibility in texture and sound design come to the forefront. At face value this is a horror-satire about a killer dress. Yes a KILLER DRESS. On a deeper, more spiritual level this is a David Lynch ASMR video. I am aiming this take at a very specific kindred soul. If any of these words stand out to you, watch this weird ass movie.
10. Aniara
The most concentrated space sci-fi dread I can recall in a while. This depressing stuff gets me going. There's something to be said about the combination of small budgets, big ambition, and commitment to the narrative.
Honorables:
- Birds of Passage
- Ash Is Purest White
- The Last Black Man in San Francisco
- A Hidden Life
- Monos
- Ad Astra
- The Farewell
- Marriage Story
- The Irishman
- The Nightingale
So with like a dozen+ movies I still need to get to from 2019, this is the best I could do for an ordered top 20 at this point. I'm satisfied with it.
Last edited:
1. Portrait of a Lady on Fire
A mesmerizing tour de force, Portrait of a Lady on Fire is a masterpiece of filmmaking and unquestionably one of my favorite films from the last decade. There is a quiet passion simmering throughout that is delicately woven into every aspect of the film. From its beautiful writing to the extraordinary acting between the two leads to the prevalence of eye contact and fleeting gestures of touch, all of which combine to accentuate the achingly beautiful evolution of Heloise and Marianne's romance. Noemie Merlant and Adele Haenel are perfectly cast, both of them delivering tremendous performances that add so much meaningful texture to the tale of their love. The storytelling is elegant and poetic and vibrant, every stolen glance and deeply felt emotion a subtle thread within a tapestry that builds gracefully to a sublimely wrought and awe-inspiring ending; an ending that displays a directorial confidence that is remarkable. Celine Sciamma is an exceedingly skilled director and writer, her best and most stirring qualities seemingly heightened by the transition to a period piece. Her dialogue is especially noteworthy, balancing naturalism with memorable literary flourishes. There are a plethora of other, yet no less essential, elements within the production. For one, the setting is used brilliantly throughout, from the golden sands of the beach to the dazzling azure of the sea to the darker hues of the austere manor they reside in. The cinematography is lush and striking, evoking a painting within every frame. The near absence of music within the film is a particularly clever directorial touch. To this point, the dramatic flourishes that occur, rare as they are, are typically accompanied by the very few musical cues that do exist, which elevates those moments enormously. This is cinema at its most intimate and spellbinding.
2. Once Upon a Time in Hollywood
Buoyed by exquisite storytelling, endearingly written characters, and some finely tuned comedy, Once Upon in Time in Hollywood is Tarantino's most earnest and sentimental film since the brilliant Jackie Brown. In a career marked by a ceaseless succession of wickedly entertaining films, it's also one of his best. The lack of a more substantive narrative in favor of somewhat disconnected vignettes was cleverly handled, as it allowed for 1969 Los Angeles to be savored to its fullest extent. The film, as a result, at least prior to the blood-drenched climax, unfurls at a leisurely pace that emphasized the magical nature of the time and place it so affectionately recalls. The meticulous recreation of Los Angeles at such a transformative time in its history greatly heightened the effectiveness of the dichotomy between fantasy and reality. Ultimately, the level of detail woven into every aspect of the production is perhaps the strongest aspect of the film, vital as it is to the tale being told. The film is peppered with memorable moments and beautifully written interactions. One of the best and most evocative sequences this year lies in the transition into the final act; a wistful glimpse of relatively burden-free lives as the primary characters' inexorable ends are seemingly right around the corner. The usage of California Dreamin' in this scene is among my favorite of all the sublime musical selections Tarantino has sprinkled throughout his oeuvre. Leonardo DiCaprio and Brad Pitt are both brilliant. DiCaprio, for his part, gives one of the best performances of his career, flitting between exceptional comedic timing, understated emotional vulnerability and a scene or two of stellar dramatic acting. Complemented by Pitt's portrayal of the effortlessly cool, their friendship is one of the highlights of the film. Though already of considerable length, I could have easily spent many hours more watching the lives of these characters simply existing. What an achievement.
3. Parasite
A social satire of dizzying ambition and ingeniously operatic storytelling, Parasite is a bravura piece of filmmaking craftsmanship. Bong Joon-ho's direction is exceptional throughout, every frame meticulously constructed and artfully told. This is aided by some exquisite set design and sharp editing, all of which are played to their fullest strengths in the increasingly tense latter half. Moreover, Bong Joon-Ho is an expert at weaving disparate tones into a singularly unique whole and Parasite is an absolute masterclass in this regard. A symphony of gripping dramatic flourishes are cleverly woven into the fabric of the story, each twist revealing greater depth in a labyrinth of thematically rich storytelling that culminates with an explosive and remarkably poignant finale. The social commentary, though fairly familiar, was appropriately scathing in its exploration of classism. The entire cast enlivens the film with exceedingly engaging performances. So-dam Park, Woo-sik Choi, Hye-jin Jang, and Kang-ho Song are especially worthy of recognition, as they're all fantastic and integral to the effectiveness of the film. While Memories of Murder remains Bong Joon-ho's magnum opus, Parasite is a bold, beguiling, and masterfully crafted film that I can't wait to revisit again and again.
4. Little Women
Little Women is a marvel of confident storytelling and organic sentiment, intelligently empowering a set of wonderfully engaging characters through a lens of subtly applied modernity. Having already been thoroughly impressed with Greta Gerwig's excellent directorial debut in Lady Bird, her work here has notably matured, this oft-adapted classic filmed more expertly and intelligently than one could have hoped for. Among an ensemble of terrific performances, Saoirse Ronan, Timothee Chalamet, and Florence Pugh are the definite standouts, each imbuing in their character arcs a dynamism and electricity that benefits the story immensely. The cinematography is lush and striking, elevated by phenomenal production qualities and a rather magical score from Alexandre Desplat. Due to these various elements, there is a warmth that permeates the entire film, creating an atmosphere that's beautiful and pleasant and difficult to forget. With the inclusion of several clever alterations to the narrative and an emotional heft that is perfectly handled, this is, without question, the definitive adaptation of Little Women.
5. The Lighthouse
Boasting stellar acting, a psychological terror that continuously confounds, a surprising amount of excellent comedy, and a fairly effective undercurrent of homoeroticism, The Lighthouse is a feverish descent into madness directed with an expressionistic approach that is wildly inventive. Furthermore, it is an audiovisual masterwork; a manic pastiche of boldly crafted elements, from the stunning photography to the claustrophobic setting to the lighthouse siren that serves as an ever-present reminder of their frightening solitude, all of which coalesce into an unforgettable tapestry. Willem Dafoe and Robert Pattinson deliver outstanding performances, both of them reveling in the delectable dialogue and tempestuous theatricality that permeates the story. Dafoe's performance is perhaps my favorite since Day-Lewis in There Will Be Blood and Pattinson's isn't far behind, further evidence that he's an exceptional young actor. Following the brilliance of The Witch, Robert Eggers' sophomore effort resoundingly demonstrates that he is one of the best and most promising young directors. Eggers is able to deftly capture an aura of mythic otherworldliness that elevates the storytelling immeasurably. His ability to construct a wondrously cinematic language and rhythm out of rather archaic dialogue is seemingly boundless. The Witch displayed this somewhat unique attention to historical detail to fairly superb effect and The Lighthouse manages to impress to an even greater extent. Jarin Blaschke's cinematography is magnificent, the perfectly framed and stunningly lit black and white photography seemingly creating an artistic triumph in every frame. In short, The Lighthouse is one of the most stylistically audacious works of the decade and is a riotous delight from start to finish, closing with an incredibly unsettling ending that features one of my favorite scenes of the year.
6. The Irishman
As a likely coda to the brilliant careers of a legendary director and three sensational actors, The Irishman is an immensely rewarding and consistently enthralling epic. Despite its daunting runtime and fairly methodical pacing, there's very little in the way of excess or tedium. Much of the storytelling feels sharply honed and necessary, as conversations are relished to satisfying effect. Joe Pesci, Robert De Niro, and Al Pacino are superb in their roles, each of them elevating the material with powerful performances. The CG, though initially somewhat distracting, was largely well-implemented, especially due to how smartly it allowed the facial expressions, integral to the performances from the central trio, to shine through, rather than become dwarfed by a needless necessity to fully replicate their youthful appearances. As a result perhaps of Scorsese's age and a more ruminative eye, The Irishman feels less a bombastic ode to the gangster fare that catapulted him into such revered territory as a filmmaker and more of a contemplative examination and perhaps rebuke of the glorification that was so prevalent in them. To this end, there is a deliberate melancholy infused into the latter half of the film that is profoundly staged, as the lonely decay that occurs with age is deemed inevitable when participating in such a bleak and violent business. By excising the stylistic flourishes that had been so prevalent (enjoyably so) in Scorsese's past action sequences, the violence that occurs throughout The Irishman is unglamorous, brutal, and potent in its brevity. Sprawling in its ambitions and excelling with its thoughtful examination of the genre, The Irishman features some of Scorsese's finest work, his expansive skills so little diminished in the waning years of a tremendous career.
7. A Hidden Life
While A Hidden Life doesn't quite reach the heights of Malick's numerous masterpieces, it is a beautifully contemplative and gorgeously directed work, deeply etched with his particular brand of idiosyncratic stylism. Though I'm not at all dismissive of and have still rather enjoyed Malick's recent abandonment of narrative structure, the return of more substantive storytelling is a welcome and immensely beneficial one. The simple existence of a narrative and thematic through line allows for Malick's best directorial sensibilities to be accentuated devoid of the failings that can result from his worst excesses. Franz's story is an exceedingly poignant and occasionally maddening one, aided by some exemplary acting from August Diehl. The spirituality that courses through the film never feels excessive or trite in its overtures, opting instead to underscore the occasional need for sacrifice in the midst of great evils, woefully under-appreciated and futile though that sacrifice might be. Malick's ethereal approach to filmmaking, filled as it is with sublime visuals, meditative storytelling, and the subtly felt minutiae of time is, even at its most indulgent, a wonder to experience. Doubly so when, as is the case here, his ambition is accorded the storytelling bravado it so deserves.
8. Deadwood: The Movie
After years of uncertainty, Deadwood returned with a filmic coda that surpassed every expectation I had of it, providing the ending that this series and its characters had long-deserved. Deadwood was remarkable television, filled with an ambition and uniqueness in its storytelling and character work that isn't easily replicated. As such, a film created more than a decade after its premature demise wasn't at all certain to satisfy. However, every concern I had of it was resoundingly dispelled. Though I was rather fond of the third season and thought it an admirable conclusion to the series, the movie made for a considerably stronger ending. Its emotional resonance and focus on narrative payoff was especially rewarding, flittering as it does between a myriad of dramatically and emotionally profound scenes. Nearly every character and dynamic of significance is afforded some manner of culmination to their journeys, often poignantly so. More than anything perhaps, this film serves to emphasize, once again, how exceptionally drawn Al Swearengen and Seth Bullock are as characters; two of the best to ever grace the television screen. While I always loved Timothy Olyphant as Bullock, the years have instilled in him a more confident command of the frayed energy inherent to his character, which noticeably benefited his portrayal. The entire cast, in fact, stepped back into their roles quite gracefully, losing very little of all that made them so brilliant to watch. David Milch's writing, perhaps the most notable aspect of the series, continues to be as wonderfully idiosyncratic and poetically verbose as it ever was, returning with ease to the same beautifully vulgar rhythm that had been delivered with such zeal by all involved long ago. The final bit of dialogue, in particular, was an elegiac note played to perfection and, seeing it now, I couldn't have imagined it ending any other way.
9. Marriage Story
Devastating in its honest characterization of a failed marriage, I was highly impressed by how thoughtfully executed this was. Noah Baumbach is at his most refined as a storyteller here, as he engagingly weaves organically crafted drama through insightful character work. The flaws in Charlie and Nicole's marriage are unfurled with a restraint that is highly effective, as the discord that envelops them culminates with a blistering crescendo that was powerfully rendered. The denouement that follows, with equally affecting results, displays a mixture of heartbreak and a whisper of healing that is immensely cathartic. Even at its most dramatic, the emotional complexity never feels overwrought. Despite a slightly unfortunate inclination towards Charlie's perspective in the latter half, I appreciated how balanced this depiction of marital strife was. Their fractured perspectives are both lent considerable weight, each of them possessing flaws and virtues that engender sympathy and understanding. Complemented by strong performances from Laura Dern and Alan Alda, Scarlett Johansson and Adam Driver deliver two of the best performances of the year, as well as their careers, conveying the pain they're both enduring with a naturalism that was thoroughly compelling. Adam Driver, in particular, is astonishing here. From his incredible post-argument breakdown to the extreme vulnerability exhibited in his beautiful rendition of Being Alive. He's unquestionably one of the best actors working today.
10. Transit
Engrossing with its surreality and uniquely timeless world, Transit is, similar to Phoenix, a rich character piece that leaves one unmoored by its end. Literary in its sensibilities, the storytelling is beguiling and complex, exploring the displacement of refugees with a keen understanding of the tense desperation such circumstances can entail. This displacement is smartly woven into every aspect of the film, from its sense of time to its mysterious setting and the characters that inhabit it. The atmosphere that this dreamlike manner of storytelling creates is endlessly charming and quietly unsettling. Christian Petzold is such a compelling director, as he instills his films (at least the three I've seen) with a dramatic nuance and storytelling audacity that is enormously intriguing. Franz Rogowski is enthralling in the lead role, anchoring the film amidst the unreal environment that threatens to swallow him whole.
Honorable Mentions:
11. Monos
12. 1917
13. Ad Astra
14. Birds of Passage
15. Apollo 11
16. The Farewell
17. Toy Story 4
18. High Life
19. Pain and Glory
20. The King
21. Knives Out
22. A Beautiful Day in the Neighborhood
23. Rocketman
24. Klaus
25. JoJo Rabbit
2019 was an amazing year for cinema, boasting several masterpieces and a plethora of highly noteworthy films. As always, there are quite a few notable movies I've yet to watch, such as Uncut Gems, Atlantics, Long Day's Journey Into Night, An Elephant Sitting Still, I Lost My Body, Dolemite is My Name, and The Two Popes, among others. I wanted to include some of my thoughts on my honorable mentions, but wasn't able to due to a lack of time. Given the deadline extension, I might if the opportunity arises.
A mesmerizing tour de force, Portrait of a Lady on Fire is a masterpiece of filmmaking and unquestionably one of my favorite films from the last decade. There is a quiet passion simmering throughout that is delicately woven into every aspect of the film. From its beautiful writing to the extraordinary acting between the two leads to the prevalence of eye contact and fleeting gestures of touch, all of which combine to accentuate the achingly beautiful evolution of Heloise and Marianne's romance. Noemie Merlant and Adele Haenel are perfectly cast, both of them delivering tremendous performances that add so much meaningful texture to the tale of their love. The storytelling is elegant and poetic and vibrant, every stolen glance and deeply felt emotion a subtle thread within a tapestry that builds gracefully to a sublimely wrought and awe-inspiring ending; an ending that displays a directorial confidence that is remarkable. Celine Sciamma is an exceedingly skilled director and writer, her best and most stirring qualities seemingly heightened by the transition to a period piece. Her dialogue is especially noteworthy, balancing naturalism with memorable literary flourishes. There are a plethora of other, yet no less essential, elements within the production. For one, the setting is used brilliantly throughout, from the golden sands of the beach to the dazzling azure of the sea to the darker hues of the austere manor they reside in. The cinematography is lush and striking, evoking a painting within every frame. The near absence of music within the film is a particularly clever directorial touch. To this point, the dramatic flourishes that occur, rare as they are, are typically accompanied by the very few musical cues that do exist, which elevates those moments enormously. This is cinema at its most intimate and spellbinding.
2. Once Upon a Time in Hollywood
Buoyed by exquisite storytelling, endearingly written characters, and some finely tuned comedy, Once Upon in Time in Hollywood is Tarantino's most earnest and sentimental film since the brilliant Jackie Brown. In a career marked by a ceaseless succession of wickedly entertaining films, it's also one of his best. The lack of a more substantive narrative in favor of somewhat disconnected vignettes was cleverly handled, as it allowed for 1969 Los Angeles to be savored to its fullest extent. The film, as a result, at least prior to the blood-drenched climax, unfurls at a leisurely pace that emphasized the magical nature of the time and place it so affectionately recalls. The meticulous recreation of Los Angeles at such a transformative time in its history greatly heightened the effectiveness of the dichotomy between fantasy and reality. Ultimately, the level of detail woven into every aspect of the production is perhaps the strongest aspect of the film, vital as it is to the tale being told. The film is peppered with memorable moments and beautifully written interactions. One of the best and most evocative sequences this year lies in the transition into the final act; a wistful glimpse of relatively burden-free lives as the primary characters' inexorable ends are seemingly right around the corner. The usage of California Dreamin' in this scene is among my favorite of all the sublime musical selections Tarantino has sprinkled throughout his oeuvre. Leonardo DiCaprio and Brad Pitt are both brilliant. DiCaprio, for his part, gives one of the best performances of his career, flitting between exceptional comedic timing, understated emotional vulnerability and a scene or two of stellar dramatic acting. Complemented by Pitt's portrayal of the effortlessly cool, their friendship is one of the highlights of the film. Though already of considerable length, I could have easily spent many hours more watching the lives of these characters simply existing. What an achievement.
3. Parasite
A social satire of dizzying ambition and ingeniously operatic storytelling, Parasite is a bravura piece of filmmaking craftsmanship. Bong Joon-ho's direction is exceptional throughout, every frame meticulously constructed and artfully told. This is aided by some exquisite set design and sharp editing, all of which are played to their fullest strengths in the increasingly tense latter half. Moreover, Bong Joon-Ho is an expert at weaving disparate tones into a singularly unique whole and Parasite is an absolute masterclass in this regard. A symphony of gripping dramatic flourishes are cleverly woven into the fabric of the story, each twist revealing greater depth in a labyrinth of thematically rich storytelling that culminates with an explosive and remarkably poignant finale. The social commentary, though fairly familiar, was appropriately scathing in its exploration of classism. The entire cast enlivens the film with exceedingly engaging performances. So-dam Park, Woo-sik Choi, Hye-jin Jang, and Kang-ho Song are especially worthy of recognition, as they're all fantastic and integral to the effectiveness of the film. While Memories of Murder remains Bong Joon-ho's magnum opus, Parasite is a bold, beguiling, and masterfully crafted film that I can't wait to revisit again and again.
4. Little Women
Little Women is a marvel of confident storytelling and organic sentiment, intelligently empowering a set of wonderfully engaging characters through a lens of subtly applied modernity. Having already been thoroughly impressed with Greta Gerwig's excellent directorial debut in Lady Bird, her work here has notably matured, this oft-adapted classic filmed more expertly and intelligently than one could have hoped for. Among an ensemble of terrific performances, Saoirse Ronan, Timothee Chalamet, and Florence Pugh are the definite standouts, each imbuing in their character arcs a dynamism and electricity that benefits the story immensely. The cinematography is lush and striking, elevated by phenomenal production qualities and a rather magical score from Alexandre Desplat. Due to these various elements, there is a warmth that permeates the entire film, creating an atmosphere that's beautiful and pleasant and difficult to forget. With the inclusion of several clever alterations to the narrative and an emotional heft that is perfectly handled, this is, without question, the definitive adaptation of Little Women.
5. The Lighthouse
Boasting stellar acting, a psychological terror that continuously confounds, a surprising amount of excellent comedy, and a fairly effective undercurrent of homoeroticism, The Lighthouse is a feverish descent into madness directed with an expressionistic approach that is wildly inventive. Furthermore, it is an audiovisual masterwork; a manic pastiche of boldly crafted elements, from the stunning photography to the claustrophobic setting to the lighthouse siren that serves as an ever-present reminder of their frightening solitude, all of which coalesce into an unforgettable tapestry. Willem Dafoe and Robert Pattinson deliver outstanding performances, both of them reveling in the delectable dialogue and tempestuous theatricality that permeates the story. Dafoe's performance is perhaps my favorite since Day-Lewis in There Will Be Blood and Pattinson's isn't far behind, further evidence that he's an exceptional young actor. Following the brilliance of The Witch, Robert Eggers' sophomore effort resoundingly demonstrates that he is one of the best and most promising young directors. Eggers is able to deftly capture an aura of mythic otherworldliness that elevates the storytelling immeasurably. His ability to construct a wondrously cinematic language and rhythm out of rather archaic dialogue is seemingly boundless. The Witch displayed this somewhat unique attention to historical detail to fairly superb effect and The Lighthouse manages to impress to an even greater extent. Jarin Blaschke's cinematography is magnificent, the perfectly framed and stunningly lit black and white photography seemingly creating an artistic triumph in every frame. In short, The Lighthouse is one of the most stylistically audacious works of the decade and is a riotous delight from start to finish, closing with an incredibly unsettling ending that features one of my favorite scenes of the year.
6. The Irishman
As a likely coda to the brilliant careers of a legendary director and three sensational actors, The Irishman is an immensely rewarding and consistently enthralling epic. Despite its daunting runtime and fairly methodical pacing, there's very little in the way of excess or tedium. Much of the storytelling feels sharply honed and necessary, as conversations are relished to satisfying effect. Joe Pesci, Robert De Niro, and Al Pacino are superb in their roles, each of them elevating the material with powerful performances. The CG, though initially somewhat distracting, was largely well-implemented, especially due to how smartly it allowed the facial expressions, integral to the performances from the central trio, to shine through, rather than become dwarfed by a needless necessity to fully replicate their youthful appearances. As a result perhaps of Scorsese's age and a more ruminative eye, The Irishman feels less a bombastic ode to the gangster fare that catapulted him into such revered territory as a filmmaker and more of a contemplative examination and perhaps rebuke of the glorification that was so prevalent in them. To this end, there is a deliberate melancholy infused into the latter half of the film that is profoundly staged, as the lonely decay that occurs with age is deemed inevitable when participating in such a bleak and violent business. By excising the stylistic flourishes that had been so prevalent (enjoyably so) in Scorsese's past action sequences, the violence that occurs throughout The Irishman is unglamorous, brutal, and potent in its brevity. Sprawling in its ambitions and excelling with its thoughtful examination of the genre, The Irishman features some of Scorsese's finest work, his expansive skills so little diminished in the waning years of a tremendous career.
7. A Hidden Life
While A Hidden Life doesn't quite reach the heights of Malick's numerous masterpieces, it is a beautifully contemplative and gorgeously directed work, deeply etched with his particular brand of idiosyncratic stylism. Though I'm not at all dismissive of and have still rather enjoyed Malick's recent abandonment of narrative structure, the return of more substantive storytelling is a welcome and immensely beneficial one. The simple existence of a narrative and thematic through line allows for Malick's best directorial sensibilities to be accentuated devoid of the failings that can result from his worst excesses. Franz's story is an exceedingly poignant and occasionally maddening one, aided by some exemplary acting from August Diehl. The spirituality that courses through the film never feels excessive or trite in its overtures, opting instead to underscore the occasional need for sacrifice in the midst of great evils, woefully under-appreciated and futile though that sacrifice might be. Malick's ethereal approach to filmmaking, filled as it is with sublime visuals, meditative storytelling, and the subtly felt minutiae of time is, even at its most indulgent, a wonder to experience. Doubly so when, as is the case here, his ambition is accorded the storytelling bravado it so deserves.
8. Deadwood: The Movie
After years of uncertainty, Deadwood returned with a filmic coda that surpassed every expectation I had of it, providing the ending that this series and its characters had long-deserved. Deadwood was remarkable television, filled with an ambition and uniqueness in its storytelling and character work that isn't easily replicated. As such, a film created more than a decade after its premature demise wasn't at all certain to satisfy. However, every concern I had of it was resoundingly dispelled. Though I was rather fond of the third season and thought it an admirable conclusion to the series, the movie made for a considerably stronger ending. Its emotional resonance and focus on narrative payoff was especially rewarding, flittering as it does between a myriad of dramatically and emotionally profound scenes. Nearly every character and dynamic of significance is afforded some manner of culmination to their journeys, often poignantly so. More than anything perhaps, this film serves to emphasize, once again, how exceptionally drawn Al Swearengen and Seth Bullock are as characters; two of the best to ever grace the television screen. While I always loved Timothy Olyphant as Bullock, the years have instilled in him a more confident command of the frayed energy inherent to his character, which noticeably benefited his portrayal. The entire cast, in fact, stepped back into their roles quite gracefully, losing very little of all that made them so brilliant to watch. David Milch's writing, perhaps the most notable aspect of the series, continues to be as wonderfully idiosyncratic and poetically verbose as it ever was, returning with ease to the same beautifully vulgar rhythm that had been delivered with such zeal by all involved long ago. The final bit of dialogue, in particular, was an elegiac note played to perfection and, seeing it now, I couldn't have imagined it ending any other way.
9. Marriage Story
Devastating in its honest characterization of a failed marriage, I was highly impressed by how thoughtfully executed this was. Noah Baumbach is at his most refined as a storyteller here, as he engagingly weaves organically crafted drama through insightful character work. The flaws in Charlie and Nicole's marriage are unfurled with a restraint that is highly effective, as the discord that envelops them culminates with a blistering crescendo that was powerfully rendered. The denouement that follows, with equally affecting results, displays a mixture of heartbreak and a whisper of healing that is immensely cathartic. Even at its most dramatic, the emotional complexity never feels overwrought. Despite a slightly unfortunate inclination towards Charlie's perspective in the latter half, I appreciated how balanced this depiction of marital strife was. Their fractured perspectives are both lent considerable weight, each of them possessing flaws and virtues that engender sympathy and understanding. Complemented by strong performances from Laura Dern and Alan Alda, Scarlett Johansson and Adam Driver deliver two of the best performances of the year, as well as their careers, conveying the pain they're both enduring with a naturalism that was thoroughly compelling. Adam Driver, in particular, is astonishing here. From his incredible post-argument breakdown to the extreme vulnerability exhibited in his beautiful rendition of Being Alive. He's unquestionably one of the best actors working today.
10. Transit
Engrossing with its surreality and uniquely timeless world, Transit is, similar to Phoenix, a rich character piece that leaves one unmoored by its end. Literary in its sensibilities, the storytelling is beguiling and complex, exploring the displacement of refugees with a keen understanding of the tense desperation such circumstances can entail. This displacement is smartly woven into every aspect of the film, from its sense of time to its mysterious setting and the characters that inhabit it. The atmosphere that this dreamlike manner of storytelling creates is endlessly charming and quietly unsettling. Christian Petzold is such a compelling director, as he instills his films (at least the three I've seen) with a dramatic nuance and storytelling audacity that is enormously intriguing. Franz Rogowski is enthralling in the lead role, anchoring the film amidst the unreal environment that threatens to swallow him whole.
Honorable Mentions:
11. Monos
12. 1917
13. Ad Astra
14. Birds of Passage
15. Apollo 11
16. The Farewell
17. Toy Story 4
18. High Life
19. Pain and Glory
20. The King
21. Knives Out
22. A Beautiful Day in the Neighborhood
23. Rocketman
24. Klaus
25. JoJo Rabbit
2019 was an amazing year for cinema, boasting several masterpieces and a plethora of highly noteworthy films. As always, there are quite a few notable movies I've yet to watch, such as Uncut Gems, Atlantics, Long Day's Journey Into Night, An Elephant Sitting Still, I Lost My Body, Dolemite is My Name, and The Two Popes, among others. I wanted to include some of my thoughts on my honorable mentions, but wasn't able to due to a lack of time. Given the deadline extension, I might if the opportunity arises.
Last edited:
Voting is now closed!
Alright everyone! Voting is now closed! No new lists will be counted.
Also, a reminder that you can still add/modify your thoughts to the list until Friday the 28th! (Not the order)
Many thanks for everyone participating! The results thread should be up next weekend!
Also, a reminder that you can still add/modify your thoughts to the list until Friday the 28th! (Not the order)
Many thanks for everyone participating! The results thread should be up next weekend!
01 - Once Upon A Time...In Hollywood
02 - 1917
03 - Avengers: Endgame
04 - John Wick 3
05 - Dolemite Is My Name
06 - Midsommor
07 - Parasite
08 - Jojo Rabbit
09 - Knives Out
10 - Us
Honorable Mentions: Honeyland, an astonishing film I never want to see again; it's very well done and a solid kick in the teeth. I probably don't need to see The Lighthouse again, either, but it was certainly amazing to bear witness to at least once. The Two Popes was quite good in an acting tour-de-force kind of way, but not bumping the fun genre stuff on my list.
02 - 1917
03 - Avengers: Endgame
04 - John Wick 3
05 - Dolemite Is My Name
06 - Midsommor
07 - Parasite
08 - Jojo Rabbit
09 - Knives Out
10 - Us
Honorable Mentions: Honeyland, an astonishing film I never want to see again; it's very well done and a solid kick in the teeth. I probably don't need to see The Lighthouse again, either, but it was certainly amazing to bear witness to at least once. The Two Popes was quite good in an acting tour-de-force kind of way, but not bumping the fun genre stuff on my list.
Most definitely Parasite.
I so wanted watch Portrait, Atlantics and Little Women before the deadline but couldn't get to them.