Best Movies of 2019

Unlike last year, I managed to see a few movies in theaters this year that weren't about Star Wars or superheroes. This is partly because I was willing to go to movies by myself for a change. You should try going to movies by yourself! The movies aren't any different and nobody else cares that you're alone.

Best of 2019

10. 1917


The thing about movies with obviously impressive technical filmmaking behind them is the filmmaking itself can become a distraction. You're thinking about how a shot was achieved as much as what the content of the shot actually does for the story. So when I learned 1917 was shot and edited to appear as a single unbroken take for the entire film, I was a little worried it would be a huge gimmick. While I did find myself sometimes looking for the transitions where cuts to new shots were hidden, overall I was still invested in the story of two British soldiers racing across no man's land in World War I to save a division of their countrymen from annihilation. The decision to make it one take has a purpose, allowing you to take in how incredibly exhausting their journey is, both physically and emotionally. It's a movie that doesn't glamorize war, but does try to honor the men who fight and die in it.

9. Marriage Story

Noah Baumbach generally does comedies about contemporary adult life, but he's been known to veer into drama at times, and Marriage Story is probably his most dramatic work. A lot of divorce stories show a marriage falling apart, but Marriage Story skips to the part where it's clearly over, and covers the messiness of the legal side of the separation. Adam Driver and Scarlett Johansson play the central couple, both with their charms and still having feelings for each other, but unable to go on sharing a life. It's clear that their characters are at least loosely based on Baumbach and his ex-wife, and it's interesting to look at how they're balanced in the story. Johansson's character is the one who initiated the divorce, feeling like she had no control of her life, and doesn't have as many clear flaws as Driver's does. But the story still seems to tend towards Driver's perspective, especially once he feels blindsided by his wife moving to Los Angeles and bringing their son with her. It's heartbreaking watching the relationship get more contentious as the realities of two adults separating their lives, especially with a child involved, complicate what seemed like it could have been less painful. There are a few comedic moments that keep the movie from being a slog, and the performances of the whole cast deserve the accolades they're getting.

8. Avengers: Endgame


The Marvel Cinematic Universe is still going, but I wouldn't blame anyone who felt like hopping off the ride after Endgame. It's the culmination of 12 years and 22 movies worth of successful mass market storytelling. The fact that it not only isn't an incoherent mess but pays off in all the ways people hoped it would is a miracle. I'm not sure we'll ever see anything like the first "saga" of the MCU again. The opening section of the film is successful at selling the drama and horror of a world that has lost so much. The second act is both a fun tribute to the history of the series and a screwball time travel adventure, with some pathos thrown in. And the final battle is just a smorgasbord of dramatic conclusions to character arcs and entertaining fan service moments. It's not high cinema, but there's a reason it's the highest grossing movie ever made.

7. Us


Us is a lot messier than Jordan Peele's first movie as a director. It has a really big concept behind it, one that seems to make less sense the more you think about it. But I think I may have liked it more than Get Out anyway. It has a lot on its mind, big ideas about America and freedom and class, and it's also more successful as a horror film. Get Out had creepy moments, but Us comes closer to being truly terrifying at moments, and the imagery of it will stick in your mind long afterward. Really, the whole movie stuck with me, which is probably more important than making total logical sense. There's a lot going on in Us, and it certainly would reward watching it more than once. Not too many horror movies can say that.

6. Midsommar


The negative reactions I have seen to Midsommar are interesting. I've seen complaints that the characters are unlikable, it's not very scary, and it's not very unpredictable. None of those things are false, but none of them seemed like flaws to me, because it doesn't seem like it was trying to be scary or unpredictable or have likable characters. There's a sense of inevitability to the movie, as people start disappearing and the others just continue on as if in a daze. It's a movie about trauma and mental health and drugs and shitty friends, and the way the central character gets pulled into the world she's entered is more disturbing than any simple attempts to shock or frighten the viewer. Not that it totally avoids being a horror movie, there are a few moments of gore that should unsettle pretty much anybody. It's a horror movie that takes place almost entirely in daylight, and that idea of everything being right in front of you and it still working is not just an aesthetic choice but the whole point of the movie.

5. Knives Out


Rian Johnson hops off the franchise train for a bit and returns to what he's known for - taking a genre that hasn't gotten much attention and doing it as well as any of the classics you can name. This time it's murder mysteries, with the patriarch of a wealth family seemingly killing himself and an oddball detective taking it upon himself to sniff out what he suspects was really foul play. Every member of the family has a reason they may have wanted the old man dead, but which one of them actually did it? The film quickly diverts from this story in unexpected ways, but it never stops being a thrilling and funny romp. It also does a great job of skewering upper class white people, who can be perfectly friendly and open minded until things stop going their way. Johnson has discussed doing sequels with Daniel Craig's absurdly accented detective character, and I'd love to see them.

4. Once Upon a Time in Hollywood


It's indulgent as hell, but what do you expect from late-career Quentin Tarantino? Hollywood is his love letter to his youth and the movies and celebrities he adored growing up. It's also an opportunity to play around a bit with genre from scene to scene. When an actor played by Leonardo DiCaprio and his bodyguard/stunt double played by Brad Pitt are hanging out, it's a nice, loose buddy comedy. When DiCaprio is doing an acting job just to get a paycheck, he returns to the Western setting he's explored in his last couple movies. When Pitt visits the famous Spahn Ranch after learning about the weird group that's staying there, it feels like a tense horror or thriller flick. And of course it ends in a Tarantinian explosion of brutal yet somehow satisfying violence. You probably know if you like his style or not and this isn't likely to change your mind. It's maybe a bit aimless in comparison, but I still had a really good time.

3. The Irishman

Excepting a TV pilot, this is Martin Scorsese's first work in the gangster genre in over a decade. He's decidedly an old man at this point, and we find him reflecting on what a life of violence is really worth. A lot of talk has been about the movie's immense length and the de-aging computer effects, and those can be talked about, but they're not really what interests me. I don't think I've ever seen a violent mob movie that so thoroughly repudiates mob violence. The first couple hours are a solid exploration of the genre, but then after the masterfully tense and regretful climax, we have the long denouement, as the characters tally up their successes and losses and realize how little it was all worth in the end. It has one of the best final shots and final lines I've seen in a movie. It's another masterpiece in a career of them.

2. The Lighthouse


The Lighthouse isn't the easiest movie to categorize. Largely I'd say it's a psychological horror movie, but if so, it's an odd one. It focuses on the complicated relationship of the master of a lighthouse on a remote island and his new assistant. The master can be friendly when he wants, and seems casual about the official rules when it suits him, but he is also a pain to be around and vindictive when he perceives shortcomings in his employee. The assistant struggles to adapt to the situation in a graceful way, which is understandable, but it seems as though he was driven to the post through something in his past he'd rather not speak of, and it's hard to pin down just how sympathetic he should really be. He is haunted by strange visions, nightmares, and a desire to make a connection, and you start to feel the loss connection of reality that he is clearly experiencing himself. It's a weird, funny, frightening movie that pushes a lot of buttons that I like to see get pushed. And the two performances by Willem Dafoe and Robert Pattinson are great. I'll gladly watch anything Robert Eggers decides to make.

1. Parasite


A lot has been said about the message of Parasite, and rightly so. It's critical of the class divide in South Korea, but it's a divide that has proven resonant for people all over the planet. There's a justifiable rage against the ultra wealthy living well at the expense of the less fortunate everywhere, and the fact that so many of those ultra wealthy are claiming Parasite as a movie they loved just proves its point that they have no idea what world they are living in. But all of that kind of elides that the movie itself is just brilliantly crafted from start to finish. Bong Joon-ho is one of my favorites of current Korean directors, and Parasite could be his best work. Every single shot seems fully thought out and expertly designed to further the story he's telling. In addition, the whole cast is great, from Song Kang-ho, who he's been working with for over a decade, to newcomers like Park So-dam. It gets darker than you might expect at first, but Parasite is still the best time I had with a new movie in 2019.

Delayed Entry

This is the best movie that wasn't released in 2019 but I didn't see until then.

Mandy

Sometimes you just vibe with a movie, you know? I expected to like Mandy, but I didn't quite expect to fall in love with it so thoroughly. It felt like I was in an actual trance at times, which makes sense with how ethereal it feels and how the central characters are usually on some sort of drugs. Mandy is beautiful and ugly, funny and haunting, with a great soundtrack and a perfect performance from Nicolas Cage. It is sometimes both incredibly real and wonderfully unreal. I don't know, man. It's great.

Best Movies of 2013

What usually happens is I end up seeing a lot of above average mainstream movies during the year, and I don't really get caught up with the more prestigious films until after I've already made this list. While that's still somewhat true, as I managed to see things like Star Trek Into Darkness and Elysium while missing new work by acclaimed directors such as the Coen brothers, Steve McQueen, and Spike Jonze, I do think I did a slightly better job this year of seeing some smaller, really good movies. Mostly a fun year, even if the summer was a bit disappointing.

Best of 2013

10. Mud


Matthew McConaughey has always had a charismatic presence on screen, but he spent a lot of the last decade acting in movies no one cared about, playing regular charming guys and not pushing himself. That's changed in the last few years with roles like in Killer Joe and Magic Mike, and continues with Mud, and seeing him emerge as one of film's most captivating actors has been a real treat. I've noticed a trend recently of well made, independent movies set in rural America going around, and Mud fits right in there with the story of two boys in Arkansas who befriend a strange man living on an island who they slowly realize is a fugitive. The story is simple, but the performances are strong and it's a well-put-together coming-of-age tale worth checking out.

9. Spring Breakers


I guess Spring Break culture is still a thing? I remember MTV pushing it really hard about fifteen years ago. Spring Breakers is a fairly fascinating movie that completely revels in that culture while simultaneously mocking it and subverting it, and the effect is pretty remarkable. It's hard to know what to take from it at certain points, but at the very least, James Franco gives an unusual and memorable performance, there's some truly well crafted shots and moments, and it's a solid crime movie from start to finish. The girls, especially Vanessa Hudgens and Ashley Benson, are fearless in their roles, and despite the rampant sexualization of every woman on screen it somehow comes out feeling like a feminist work on the other end. You kind of need to see it to know where you stand on it.

8. Frances Ha


Noah Baumbach isn't as well known as his occasional writing partner Wes Anderson, but Frances Ha shows how much more human his work can be. He and star Greta Gerwig co-wrote this movie about a young woman struggling to live in New York, and like most good movies of this works well as a story about a young person struggling to do anything. She strives to be more than an assistant at a dance company, she has fights with her best friend, she misses opportunities that could have turned into something important. But the movie is far from depressing, with Gerwig's great, eye-catching performance, the pervasive little moments and snatches of humor, and the way that in the end it shows that, while it can be tough finding how you can live your life and be happy, it's always possible.

7. Pacific Rim


It's sort of funny how Guillermo del Toro left The Hobbit because it was taking too long to get into production, and then the first movie came out before the next thing he actually directed. It was worth it though, since Pacific Rim is one of the most jubilant and exciting original summer blockbusters to come out in years. It seems kind of odd to describe an apocalyptic action movie as jubilant, but I think it fits. The story here could have been stretched out into a trilogy, but they skipped all of the boring parts and went straight to giant robots fighting giant monsters, and express humanity's can-do attitude as the few people left capable of mounting a resistance against the Kaiju fight valiantly to do so. There's only three real fight scenes, and they're all darkly lit, and only the second one is truly of consequence and grandeur. But holy hell, is that ever an action sequence. The cast of mostly TV actors do a fine job of pushing the story forward, and it's a really fun world to inhabit for a couple hours. Again, despite the whole apocalypse thing.

6. Stoker


Park Chan-wook is at the forefront of the Korean cinematic movement that's going on right now, and his first English-language film is a big relief - it's his best movie since Oldboy, and it shows that he can keep his trademark style while working in a completely different system. It's kind of impressive how well that style translates - the actors are white and speaking English, but it really does seem to have an Asian sensibility to it. A fairly innocuous-seeming story slowly reveals its layers of darkness in more and more horrifying ways. It's not really a horror film - it's just horrific. It's unique as far as American movies go, and only gets better as it goes on.

5. Iron Man 3


After The Avengers, I was maybe a bit concerned that Marvel's Cinematic Universe would lose steam and lose whatever special extra kick they had that made them different from the other handful of super hero movies that get released every year now. That wasn't really a problem, though. Shane Black and Robert Downey Jr. reunited to create one of the best movies of this whole crazy Marvel enterprise, and the best action movie of the year. It's a movie that proves to people that Tony Stark is Iron Man, not the suit he wears, and does so by having him not actually wear that suit for a great deal of the running time. Along with some other diversions from what you'd expect based on the trailers, Iron Man 3 is the type of movie that could upset people who are maybe a little stuck in their ways. But I think it's exactly what Marvel needed, and has me excited to keep watching these things every time they come out.

4. Upstream Color


Shane Carruth's first film, Primer, was the essence of pure science fiction. It had a grounded take on time travel that it took very seriously, and was the basis and driving force for the entire story. Upstream Color also has an intriguing science fiction mechanism that kicks off the story, but it goes in a different direction, one that is completely human in a way I really didn't expect. Terence Malick definitely influenced Carruth, as there's a lot of dreamy, wistful sequences that resemble his work closely. But I'm not sure if I've seen Malick's style match the subject matter of his work as well as Upstream Color's does. It's at times terrifying, beautiful, haunting, mournful, and hopeful, and it has an inescapable grip that pulls you through a journey whether you want to go or not. It's kind of incredible.

3. The World's End


To me, The World's End is the best movie in the "three flavours" trilogy. Big fans of Shaun of the Dead and Hot Fuzz might disagree, because The World's End is not quite the pure genre exercise that those movies are (and excel at being). The World's End is secretly a character piece that uses genre (in this case, alien invasion) to explore its concepts of adulthood, addiction, friendship, and other important things, and it does a lot of it under the surface. It's also extremely funny, has Simon Pegg's best performance yet, and proves again that Edgar Wright is secretly one of the best directors of action working today. It's a god damned good movie and an excellent way to put a cap on the themes they started exploring nearly a decade ago.

2. The Wolf of Wall Street


After I saw this movie, it was sort of baffling to see that there were people who didn't get that it doesn't actually like or approve of the people or actions it depicts. Martin Scorsese and Leonardo DeCaprio know they shouldn't have to rub our noses in it. Jordan Belfort and his cronies are inherently scum. They do tons of drugs, they will have sex with anyone willing, and they smugly give not a single shit while robbing people of their fortunes. The movie doesn't punish them because these people don't get punished in real life. That's the point. For crying out loud, Belfort's best buddy is married to his first cousin and starts masturbating in the middle of a party while high on Quaaludes. I'm getting away from what I wanted to say though, which is that Wolf is a great movie, and it's unfortunate that Scorsese is still having people react in exactly the wrong way after all these years. It has great acting from everyone, a great sense of humor, great pacing (three hours that feel like maybe a little over two), and... it's great. Retweets are not endorsements.

1. Gravity

Scientific accuracy is a funny thing. The closer you get to it, the more the deviations that remain feel like they could completely snap you out of the experience. Some people struggled with this in Gravity, even if they had to look up what the inaccuracies actually were afterward. But I appreciate that Gravity hewed as close to reality as possible, fudging the truth only when it was needed to make the story work. Gravity is one of the most tightly constructed and effective thrillers that has ever been made. Every big sequence is absolutely breathtaking, and the periods in between make for solid drama in bridging the gaps. The visual effects and long takes are exceptional, and at times I wondered how the hell they were doing certain things. The dialogue is a bit clunky at times, and there were a couple of places where the science probably could have been better without hurting the story. But they're very minor quibbles when you're looking at pure filmmaking that is this well done. I don't have any qualms with calling this my favorite movie of 2013.

Delayed Entry

This is the best movie that wasn't released in 2012 but I didn't see until then.

The Man From Nowhere

I'm not sure exactly why I love The Man From Nowhere so much. Well, that's kind of a lie. A big part of it is the fight scene at the end. It's seriously one of the ten best things I've ever seen in a movie. It's worth a lot. The rest of the movie is good too, though. While modern Korean cinema doesn't have the breadth of experience as Japanese movies did in their heyday, I'm still reminded of that movement when I see all of these movies by different directors with little previous experience and they all seem so good. This might be my favorite. It's sort of just a revenge movie, but a well crafted revenge movie can be a wonderful thing, and it's really a great example of what you can do with straight up genre filmmaking. Like a lot of my personal favorites, some people might not understand where I'm coming from. But what can I say. It's a great movie.

Movie Update 19

I feel like I should be building these posts around common themes, so I can give them more interesting titles than just a number, but right now the movies I watch are dictated by what's on my carefully curated list and what's about to expire from streaming. So... whatever.

Dead Alive


This was part of an impromptu horror marathon I had last Saturday when a bunch of crap was about to disappear. It's one of Peter Jackson's earliest movies, before he had started working in Hollywood, and it's also possibly the most disgusting movie I've ever seen. There's an obvious campiness and sense of humor to the extremely gory violence, so it isn't very difficult to watch, but it's still pretty darn gross. Leaking fluids, strange creatures, and dozens of people getting chopped and torn to bits. It's basically a really kooky zombie movie, except the plague is caused by a weird rat/monkey thing, and they're almost impossible to kill short of chopping them into tiny pieces. There's no real logic to it, they can pretty much do whatever the insane script calls for. Very fun, very gross movie.

Ed Wood


A sort of biopic about the career of one of Hollywood's most infamous directors, from around when he meets the great Bela Lugosi to the completion of Plan 9 from Outer Space, his most infamous film and maybe the worst ever made. Being a Tim Burton movie, it's not just a standard biopic, with a weird sense of humor reflective of the kind of mind that might produce crap like Plan 9. It's a very sympathetic story, showing Wood as a bright, friendly, enthusiastic man who just happens to make garbage. Johnny Depp is very good  as Wood, though Martin Landau sort of steals the show, winning an Oscar for playing the morphine-abusing, vulgar, theatrical Lugosi. The rest of the cast is solid too, and the black and white cinematography is generally excellent. And I loved how the film's moment of triumph is centered around the filming of one of the worst things to ever appear on a screen.

Kicking and Screaming


A funny but also thoughtful comedy by Noah Baumbach, who's known by many as a frequent collaborator with Wes Anderson, and watching it you can envision how that partnership might have started. I found it incredibly easy to relate to the movie's main characters, but I expect that's true of most people who ever graduated from college and weren't sure what to do next. The four friends all stay together in town, unable to move on from their experiences for whatever reason. We get a really good idea of why they're friends in the first place, but also what might cause that friendship to end. Really, they're all just scared to get started on that whole real life thing, which I'm not sure anyone was fully prepared for. Solid acting, really good story, and it's just a funny movie, too.

Moonstruck


This is the kind of movie people talk about when they use words like "delightful". Moonstruck is kind of an oddball romantic comedy, starring Cher in a remarkably natural performance for someone I don't really think of as an actor as a widow who decides to settle for remarriage with someone she doesn't really love. Things change when she meets her future husband's brother, a one handed baker played by a charmingly unhinged Nicolas Cage. The two have nice chemistry, and things happen about the way you might expect. Also, Cher's dad is having an affair, and her mom suspects it but is too nice to make it into a tragedy. Olympia Dukakis does a really nice job with the part, and both women won Oscars for their work. The movie's sense of humor is definitely off-beat in an unexpected and likable way, and while nothing in the film is groundbreaking, it's pleasant to watch all the same.

Poltergeist

A horror film for the whole family, directed by Tobe Hooper and written and possibly actually directed by Steven Spielberg. Ignoring the debate over who really had creative control of this movie (I'm guessing the true answer involves the word "both"), it's a pretty decent little paranormal movie. A family gets terrorized by ghosts that can move furniture and suck people into another dimension filled with goo. There's a bit of humor, but it's mostly the kind of horror movie intended to elicit a few jumps without being truly terrible or horrifying. Not that most kids probably wouldn't be freaked out by it. The eventual explanation for what's going on is pretty unsatisfactory, but the climax itself is exciting enough. There are a few ideas here worth checking out, especially if you like a little jolt but don't want to see anything truly traumatic.