We’re a little late this year, but better late than never, right?. We here at In The Mood For Film canvassed the cinemas this year and saw a lot of goo movies. 2019 was a great year for film! From indies to blockbusters to streaming originals, we were in no shortage of quality pictures. Many outlets have different rubrics and guidelines for creating their end-of-year lists. We chose to go personal. These are our top 10 favorite movies of 2019. Not the best, not the most deserving, simply our favorite 10 films.
ELLIOT’S PICKS
10. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese/The Irishman
I know I’m cheating but hear me out: Martin Scorsese released two films on Netflix this year about mythologizing the past. Does that work for you? I couldn’t pick which of these to put at number 10. On one hand, I’m a die-hard Bob Dylan fan who loves the Rolling Thunder Revue-era of Bob. On the other, who doesn’t love Scorsese reuniting with Robert De Niro and Joe Pesci for 3 ½ hours of reflection and rumination? Both of these movies are great at what they do, have fascinating subjects based in truth, yet as viewers, we know we can’t take everything at face value. I’m don’t turn to many movies for “facts” these days. That’s not the role of cinema. But I do look for truth, and Scorsese gave us a lot of it this year.
9. Ad Astra
We’ve been blessed with some thoughtful and provocative science fiction films this decade (Gravity, Arrival, to name a few). Ad Astra is one of those. It’s the story of an abandoned son (Brad Pitt) who goes looking for his father (Tommy Lee Jones) who fled to the depths of the solar system. Little is known about his dad’s status or whereabouts, but that doesn’t stop the mission. Like a lot of good science fiction, it’s not about the science or the fiction. It’s about the mirror it holds up to us–to reflect on our current dispositions and more universal themes (pun intended). Family, work, and isolation are just a few of the ideas imbued throughout the movie. Sure, you can get bogged down in the science if you let yourself. But why would you do that? You’d miss out on the bigger picture.
8. Dark Waters
When I first saw the trailer for Dark Waters, I saw it was directed by Todd Haynes. I thought he seemed like an odd fit to helm this conspiratorial legal drama. After all, Haynes gave us Velvet Goldmine, I’m Not There, and Carol–not exactly the material we’re working with in Dark Waters. I thought maybe he needed the cash as a gun-for hire. But you know what? He crushed it! Mark Ruffalo plays Rob Bilott, an attorney who is about to make partner at his large firm. His firm often did work for large chemical companies. And it’s at this time in 1998 that Rob receives a visit from a farmer (Bill Camp) who complains about the chemical plants near his farm and the damage they are doing to the surrounding area and residents. From here, the movie could easily veer into legal formula (the David-esque lawyer takes on his former Goliath-employer, fights the system, exposes corruption, etc.). I mean, it does do that, but with Haynes’ direction, Ruffalo’s performance is a slow burn allowing his character to react to what he learns. From the gloomy government offices to Bilott’s home to the affected farms, Haynes crafts a terrific docudrama. You can’t help but feel after the movie–feel enraged, encouraged, feel something. It’s ironic that a film about suppressing the truth and covering up didn’t garner more attention. Who doesn’t want us to see this film!?
7. I Lost My Body
The opening moments of the Cannes award-winner features a hand being violently separated from a character’s wrist. What follows is told from the hand’s point-of view, hence the title “I Lost My Body” and not “I Lost My Hand.” The hand crawls around Paris, looking for the rest of his (its?) body. It belongs to Naoufel. We explore his past (mostly through his hand’s perspective) and catch up with him in the present as a pizza delivery boy (a bad one at that) who is seeking…something. He meets a librarian that he’s attracted to, and well, I don’t want to spoil anything. It’s somewhat entrancing to watch this hand maneuver across Parisian towns: escaping rats, choking pigeons, and performing some impressive acrobatics. It was written by one of the writers of Amelie (Guillaume Laurant), so there is a certain whimsical aspect that rewards the viewer the more you buy in. I loved how the film doesn’t care to explain how or why this is happening. It doesn’t give us time to sort that out! We need to know what happens with Naoufel and understand him more. I liked the animation style: evocative, yet simple. This is on Netflix, and it’s definitely worth your time.
6. Little Women
I’ve never read the novel Little Women, nor have I seen any filmed adaptation prior to Greta Gerwig’s most recent production of it. What struck me is how relevant she made the themes of the novel. There’s a meta-narrative aspect that only emboldens Gerwig as she tells the story of the March sisters in post-antebellum America. They are preoccupied with the arts, their family, and of course, romance. Jo March (Saorise Ronan) is more preoccupied with her writing while her sisters are focused on their romantic and financial future. Gerwig bounces around in the timeline, but not arbitrarily. By restructuring the narrative, Gerwig manages to make it more personal and timely. Timothee Chalamet adds to his already impressive resume, and Laura Dern and Chris Cooper give grounded performances as the adults that oversee these little women. It’s a wonderful movie.
5. The Two Popes
Admittedly, I don’t remember well when Pope Benedict XVI stepped down and Pope Francis was elected. In terms or history, religious or otherwise, it’s a huge moment! And in 2012, I wasn’t really paying attention to it. Don’t worry, I’m a more informed citizen now, and thanks for Fernando Meirelles’ The Two Popes, we have a smartly imagined conversation between these two men in this time of transition. Anthony Hopkins and Jonathan Pryce play the titular Popes, and I can’t imagine many other actors doing so (especially Pryce, since he and Francis bear an uncanny resemblance). Not only is this a showcase for the actors, but it’s a film with ideas: ideas about the nature of faith, the future of a religion, leadership, humility, and compromise. I found myself engrossed in The Two Popes due to not only the dialogue and narrative rhythm, but the gorgeous visuals as well. And while this is a lot of fantasy and inference, that doesn’t mean there isn’t a lot of truth embedded.
4. Uncut Gems
If you find the characters of Adam Sandler’s comedic films annoying, be prepared to hold him in contempt in Uncut Gems. It’s easy enough to stomach an angry hockey-player-turned-golfer or the son of Satan, but Howard Ratner, Sandler’s character in Uncut Gems, will make your stomach turn through his compulsive actions. Whenever Sandler plays a non-comedic part in a film, we hear far too many reactions along the lines of, “He hasn’t done this since ‘Punch-Drunk Love.’ He can really act!” This doesn’t sit well with me because not only is comedic acting still acting, but people forget about “Reign Over Me,” “Spanglish,” “Men, Women and Children” and “The Meyorwitz Stories.” And even if you find the characters in his comedies annoying, this performance is on another level largely because of the weight attached to all of Howard’s actions. The kinetic chaos reflects Howard’s internal and captures the external of his surroundings. Blending real life events with the fiction of the film is a great concoction. I’m not a gambler, but I was addicted to Howard’s gambling. Not sure what that says about me.
3. Pain & Glory
How many filmmakers could create as wonderful a memoir of their own life as Pedro Almodóvar does with Pain & Glory? It’s an awfully short list and we are grateful Almodóvar gave the world this film. The film stars Antonio Banderas as a film director that shares the same hairstyle as Almodóvar. He is reflecting on the past because of certain circumstances in the present. And from there, Almodóvar takes us on a drug-lined, melancholic journey with his stand-in. It’s easy to see this as quasi-autobiographical, but the director claims many things have been fictionalized. And I know, that sounds like a tired cop out many filmmakers use when they make films through the lens of the self. But it’s not the fiction here that makes this movie so damn good. It’s the meta-qualities, the truth behind much of it that makes this such a beautiful film. Banderas rightfully deserves his Oscar nomination, and in a just world, he would win! I have been wanting to revisit this one for a while–I can only imagine the rewards upon repeat viewing. As an ardent fan of Almodóvar, this was one of my most anticipated films of the year. It did not disappoint. And the final shot of the film? *chef’s kiss fingers*
2. Once Upon A Time…In Hollywood
One doesn’t equate Quintin Tarantino with sentimental, so it causes pause when Once Upon a Time…In Hollywood is described as his most sentimental film to date. Obviously, it’s not hard to be more sentimental than The Hateful Eight or Reservoir Dogs. But Tarantino has a real knack for it. Once is centered around Rick Dalton (Leonardo Dicaprio), a faded actor who is working the TV circuit in 1969 Los Angeles. His good friend and stuntman, Cliff Booth (Brad Pitt), is trying to find his place in the world as well. Around them, the world is changing, with people like Charles Manson exerting an influence and people like Sharon Tate ascending in her stardom. Every Tarantino film can be seen as a love letter to films he loves, but Once is a love letter to the cinema and era of his childhood. It’s a form of historical revision that has informed some of his more recent work. Pitt and Dicaprio have never been better. The soundtrack and sights are wonderfully playful, yet grounded. It’s sincere, nostalgic, and overall, it’s a great ‘hang’ movie.
1. Parasite
The film revolves around a family of con artists slowly and strategically taking over a wealthier residence. And that’s just the beginning of Bong Joon-ho’s Palme d’Or winning masterpiece. I truly didn’t know where this film would end, partly because I had no time to think about it in the moment. The suspense, the characters, the set, they all grab hold of the viewer and don’t let go until the final frame. There are darkly comedic moments, moments of shocking violence, and moments of complex critique. The ensemble cast is perfection–there’s not a single wrong note in their performances. I loved every minute of Parasite. It’ll certainly cause a provocative discussion on the ride home (or on the couch). I don’t know if there was a sharper screenplay in 2019. Bong’s control of everything from the tone, rhythm, and aesthetic (the house was built from scratch) are all signs of one of the best living filmmakers from any country.
Honorable Mentions:
High Flying Bird
Knives Out
Marriage Story
Richard Jewell
WILLIAM’S PICKS
Shia LaBeouf, Dakota Johnson, and Zack Gottsagen star in one of the most heart-warming and original films of the year. Zak (Gottsagen) lives in a rest home and spends his days watching professional wrestling. Obsessed with the becoming a wrestler, he escapes from the rest home to pursue his dream of becoming a professional wrestler himself. Along the way, he stumbles upon Tyler (LaBeouf) who is running from problems of his own. The two form an unlikely bond as Tyler decides to help Zak pursue his dream. This movie has all the feels, where every aspect of it felt earned by the characters. It was refreshing to experience a wholly original story executed with care and LaBeouf’s chemistry with Gottsagen was nothing short of fun and enjoyable.
9. 1917
Just when I thought I had seen it all, director Sam Mendes manages to break new ground in the war genre. Lance Corporals Blake (Dean-Charles Chapman) and Schofield (George MacKay) are two foot soldiers in the middle of World War I tasked with the mission of delivering a time-sensitive message to stop a Colonel from sending his army of 1,600 soldiers into a deadly trap. Blake is particularly determined to complete his mission being that his brother is among the 1,600 that will likely get killed if the message is not delivered in time. From start to finish there is little room in the story for a dull moment. Mendes’ choice to make the entire movie look like it was shot in one take brings the unique experience of being present with the characters through all of their encounters. At times I was baffled at how they accomplished some of their shots, but it was also done in a way that never distracted me from the story. Roger Deakins remains among the best cinematographers in the business and should walk away with another Oscar. War movies are a dime a dozen, but Mendes really stuck the landing with his unprecedented approach to the genre that will certainly stand the test of time.
8. Ad Astra
It seems every year there’s at least one science-fiction/space movie that makes its mark on the genre. James Gray directed this 2019 space epic that follows Roy McBride (Brad Pitt) on a space voyage to Neptune in hopes to discover the truth about his missing father (Tommy Lee Jones). From start to finish this is easily one of the best looking movies I saw last year. Pitt is asked to do a lot here in order to convey the inner struggles and does it well. The action sequences are helmed beautifully, particularly a jaw-dropping moon rover sequence that was unlike anything I had seen before. While this is not your typical action/adventure sci-fi epic with loud explosions and laser battles every other scene, the film manages to trickle small doses of that into a much more meditative experience than I was expecting, giving me much to reflect on long after my first viewing.
7. Midsommar
Ari Aster blew me away in 2018 with Hereditary, making it my number one movie of that year. Aster continues to impress me with his sense of style and confidence behind the camera in this beautiful-looking horror film. Dani and Christian (Florence Pugh and Jack Reynor) embark on a trip to rural Sweden with their friends to experience the community’s mid-summer festival. Dani is still trying to cope with the death of her sister and parents and attempts to find support through her boyfriend, but the mid-summer community has other ideas in store for her and her friends. I love the fact that Aster attempts something completely different this time around. I’ve never seen horror portrayed in sunlight like this before. Aster proves that he is just as competent directing horror in broad daylight as he is in the dark. Florence Pugh gives an Oscar-worthy performance by putting on a full range of emotions that she has to sell to make the film ultimately work. Aster uses horror as a way to explore deeper themes that ultimately relate to all of us in some way shape or form. Nothing I experienced last year was more unsettling and thought-provoking at the same time and is easily last year’s best horror film. If you’d like to read more of my thoughts praising this film, see my article I wrote back in October of 2019 here.
S. Craig Zahler is one of the most fascinating directors working today. His work on Bone Tomahawk and Brawl in Cell Block 99 proved that he’s very capable of exploring interesting characters in rough environments and doesn’t allow controversial elements to prevent him from telling the story he wants. Mel Gibson and Vince Vaughn star as Brett Ridgeman and Anthony Lurasetti, two cops who get suspended from the force without pay for roughing up a criminal on a drug bust. In order to make ends meet, the two plan to steal from a sadistic band of criminals, but realize they might not be the only ones after the money. This is probably Zahler’s most well-written film to date. The dialogue feels like it’s coming straight out of a gritty crime novel that makes even the more mundane scenes of dialogue, particularly between Mel and Vaughn, fun and interesting. The way Zahler handles the criminals in this felt unprecedented, which is saying something being how many times we’ve seen bank robbers and heists on screen before. He was able to capture a unique sort of calculated evil that made you fear their presence every moment they were on screen. Gibson and Vaughn also turn in some great performances and had great chemistry together. Zahler definitely leaves me wanting to come back for more. If you’d like to hear more of my thoughts praising this film, check out my review I wrote back in April of 2019 here.
5. The Irishman
Scorsese is no rookie when it comes to telling a story about the life of a man working for the mob. But he’s never explored the aftermath and side effects from being in this line of work quite like he does here. Frank Sheeran (DeNiro) tells his story of his involvement in the mob that eventually led to his betrayal of his best friend, Jimmy Hoffa (Pacino). Sheeran slowly moves up the ranks becoming more connected and more involved over the span of his life as it becomes increasingly hard on his relationship with his family. I’ll admit that it took a minute for this film to really sink in for me. It’s difficult not going into a Scorsese gangster film expecting certain things out of it. For this reason I mistakenly overlooked some of the deeper themes that Scorsese chose to explore this time around rather than running over the same old grounds. While a lot of this film is reminiscent of his prior movies, it is about so much more than a man enjoying the life of being a gangster. It focuses more time on Sheeran’s family and how his life commitment to the mob has left his familial relationship completely broken. It’s about a man’s guilt creeping up on him until he realizes it’s too late to fix his mistakes. It’s about the constant choice of having to decide where your loyalty lies. It’s about taking time and relationships for granted. Scorsese does a fantastic job at exploring the glamorous appearance of life in the mob together with the devastating internal and external effects it has on one’s life. Pesci cannot go unmentioned here as he gives one of the best performances of the year. Don’t let the film’s run time keep you from experiencing one of Scorsese’s best of the decade.
4. Jojo Rabbit
Taika Waititi has a rare talent of being able to seamlessly blend comedy with heartfelt and dramatic themes. Here, it is definitely his best showcase of doing so. Based on the book titled Caging Skies, Jojo Rabbit follows a young boy named Jojo (Roman Griffin Davis) who is in training to be in Hitler’s army during World War II. He has every desire to grow up to be the greatest Nazi anyone has ever seen to the point of having Hitler himself (Taika Waititi) as his imaginary friend, cheering him on and motivating him along the way. Jojo begins to confront his ideology when he finds out his mother (Scarlett Johansson) is hiding a young Jewish girl (Thomasin McKenzie) in their house and begins to form an unlikely friendship with her. With a story like this there are so many ways for it to go wrong, and Taika may be the only one who could have pulled it off successfully. The child acting is all around some of the best I’ve ever seen, hitting every comedic and dramatic beat perfectly. Sam Rockwell also gives a great performance that continues to show he knows how to pick and play his roles. The ending is my favorite ending of any movie from last year that is bound to leave you with a smile on your face. If anything this movie puts Taika at the top of his game convincing me that I will see anything he puts his mind to.
With a title like this, a two-hour movie about a divorce was the last thing I thought I was going to sit through. But after my experience with it I found it hard to complain. Noah Baumbach writes and directs a supposedly somewhat autobiographical film about his own experience with divorce, acted out by Adam Driver and Scarlett Johansson. It’s hard for me to tell whether this movie works as well as it does because of the script or because of the performances. Obviously they both go hand-in-hand, but it’s difficult to separate the two for purposes of seeing how this film could’ve been better. Driver and Johansson give the best performances of their careers. There’s something about certain aspects of their performances that feel like they would fall flat if played by anyone else. Scenes that would otherwise come off as “overacting” come off as genuine displays of human behavior. And while the overall theme of the movie is rather disheartening, Baumbach leaves plenty of room for the more warm, sincere moments to work their way in, along with great comedic timing from Driver and a much-welcomed cameo and performance from Wallace Shawn. Perhaps Marriage Story is supposed to refer to the perfect marriage between a script and its actors because in the end, that’s exactly what this is.
2. Once Upon a Time… in Hollywood
Tarantino is well known at this point for his tight scripts filled with exceptional dialogue and violence-infused themes of revenge. To my pleasant surprise, he has also demonstrated that he is more than capable of exploring his sentimental side equally as well. Set on the backdrop of the rise of Charles Manson and his band of followers, a faded television actor, Rick Dalton (DiCaprio) and his stunt double, Cliff Booth (Pitt) find themselves struggling to stay relevant in Hollywood as the 60’s are coming to an end. It became clear as the story moved along that this was a love note to Hollywood and the era in which Tarantino grew up. It is by far his most personal movie to date. He takes no shortcuts in making every scene place you in that specific time period, giving us numerous wide shots of the intricate production design and throwbacks to classic movies and television shows. But what was even more charming was the friendship that was explored between Rick and Cliff. Up through the very last scene you buy every aspect of their relationship and how they depend on one another. It’s easily the most endearing relationship explored between any of Tarantino’s characters over the years and was only elevated by some of the best performances given by Pitt and DiCaprio. While this is his most sentimental film, that is not to say that it is without its frenzy of violence. Much like Inglorious Basterds, the violence here is over the top and may come off as unnecessary. But what might otherwise be seen as a gratuitous scene of violence feels justified within the context of history of when the movie takes place and remains consistent with how Tarantino has handled it in the past. This film has only gotten better with time will go down in history as some of the best work Tarantino has put to screen.
1. Parasite
Where do I start? I don’t think a day has gone by that I haven’t thought about this movie in some way or another since I saw it. Directed by Bong Joon Ho, the story follows an unemployed Korean family of four, struggling to get by on a day-to-day basis. When the son gets a job as a tutor for a wealthy family, the rest of the family slowly begins to con their way into different jobs, leeching off of the lifestyle of the wealthy family every chance they get. From the moment the movie starts it never lets go of you until the credits roll. Every scene of this movie is perfected in its craft, all of which is enhanced by the performances from the incredible cast. Each character proves vital to the story and not a line of dialogue is wasted. The subtitles augmented, rather than hindered the overall experience. The themes here are ripe for dissection and thought-provoking discussions, allowing for a more thoughtful experience upon subsequent viewings. Parasite offers it all and there isn’t one element that could’ve been refined. This is 2019’s best movie and nothing else comes particularly close. In the words of the director himself, don’t let the 1-inch tall barrier of subtitles prevent you from experiencing one of best movies of the decade. You won’t regret it.
Honorable Mentions
- Ford v. Ferrari
- Doctor Sleep
- John Wick Chapter 3; Parabellum
- Toy Story 4
- Apollo 11
- Knives Out
- Uncut Gems
