Its always fun to look back to see what I wrote in the previous year's intro to my top ten list. I will write more of the same - I watched WAY more movies in 2019 than I did in 2018, but made no progress on the Best Picture nominees. I still haven't completely given up hope on this (I even narrowed down my scope as I removed all mentions of my former "Exclusive Award winners" and only focus on the Best Picture nominee), but I have my hands on so many film projects right now that this has gone by the wayside. I think my discovery of Letterboxd has slowed this project down because watching and posting about a Best Picture nominee is so much more time consuming that making progress on a different list and just jotting down a few thoughts on that platform. Anyway, 2019 was an excellent year at the movies. The Oscars even got most of it right, which is a complete rarity in recent years. A lot of my Top Ten didn't get too much Oscar love, but that's usually a sign of a great year - a good mix of movies one can look at beyond the top prizes. If you would like to check out what missed this list, check out my Top 25 of 2019 (link below). Alas, my top ten favorite films of 2019 are:
10. Booksmart [Olivia Wilde]
Won 0 Oscars / Nominated for 0 more
This was my #1 movie for the first half of the year. I've since reshuffled things a bit, but it still holds true that this is one of the funniest and emotional films of 2019. Its a buffet of emotion; there's tears, laughs, anxiety, joy, surprises, and so much more. Every single interaction contains so much substance, whether its two best friends or two strangers. The combination of substance and entertainment is exactly why I love movie so much and this movie delivers in spades. The chemistry between Beanie Feldstein and Kaitlyn Dever is downright ridiculous. The story didn't just let me know these girls were best friends through school, the actresses conveyed that in every single frame. They laugh, cry, argue, and collaborate every step of the way as they try to make up for lost time. Its such a joy to watch and it just feels so real. And that scene in the pool is among the best of the year. Olivia Wilde's directorial debut is simply a standout.
Won 0 Oscars / Nominated for 0 more
This was my #1 movie for the first half of the year. I've since reshuffled things a bit, but it still holds true that this is one of the funniest and emotional films of 2019. Its a buffet of emotion; there's tears, laughs, anxiety, joy, surprises, and so much more. Every single interaction contains so much substance, whether its two best friends or two strangers. The combination of substance and entertainment is exactly why I love movie so much and this movie delivers in spades. The chemistry between Beanie Feldstein and Kaitlyn Dever is downright ridiculous. The story didn't just let me know these girls were best friends through school, the actresses conveyed that in every single frame. They laugh, cry, argue, and collaborate every step of the way as they try to make up for lost time. Its such a joy to watch and it just feels so real. And that scene in the pool is among the best of the year. Olivia Wilde's directorial debut is simply a standout.
9. The Farewell [Lulu Wang]
Won 0 Oscars / Nominated for 0 more
This is two movies in a row with a woman director. I don't need the Oscars to tell me that this was an extraordinary year for women directors. This movie grapples with a few major themes but it handles them all well in stride. It has a lot to say about cultural differences, doing what's best for others, doing what's best for oneself, and the importance of family. These are all issues that are obviously interwoven and the conundrum of hiding the fact that an elderly woman has cancer provides a conduit to explore them. The acting is a highlight here, with Awkwafina's dramatic debut. Her usual comedic timing rears its head a few times here, but once she gets the news of her grandmother's cancer, he shows off her versatility by keeping her emotions inward and nearly bubbling to the surface. Shuzhen Zhao (the grandmother) is also a revelation. Her partly aloof and outgoing personality brings so much joy to the downcast situation.
Won 0 Oscars / Nominated for 0 more
This is two movies in a row with a woman director. I don't need the Oscars to tell me that this was an extraordinary year for women directors. This movie grapples with a few major themes but it handles them all well in stride. It has a lot to say about cultural differences, doing what's best for others, doing what's best for oneself, and the importance of family. These are all issues that are obviously interwoven and the conundrum of hiding the fact that an elderly woman has cancer provides a conduit to explore them. The acting is a highlight here, with Awkwafina's dramatic debut. Her usual comedic timing rears its head a few times here, but once she gets the news of her grandmother's cancer, he shows off her versatility by keeping her emotions inward and nearly bubbling to the surface. Shuzhen Zhao (the grandmother) is also a revelation. Her partly aloof and outgoing personality brings so much joy to the downcast situation.
8. Us [Jordan Peele]
Won 0 Oscars / Nominated for 0 more
The first thing people asked me about this is if I liked it more than Get Out. I guess I'm in the minority, but the quick answer is that I do. Get Out's message is so much more blatant. Us, on the other hand, is much more inconspicuous. Its the type of film that had me thinking on what it all means for days. Its the type of film you love to hear different theories and opinions. That's two horror movies in a row from Peele that got people talking. Although I mentioned that the Oscars mostly got it right this year, Lupita Nyong'o was the biggest snub for me. She provides such a chilling performance; her large eyes are conduits for fear, curiosity, motherly anxiety, and all sorts of overwhelming emotion. She's the best in a cast of solid performances (even the kids!). The humor from Winston Duke is a lifebuoy thrown out to us in an ocean of pure terror. The tone of the film is such a low drone of unease, much like Lupita always looking over her shoulder for the person she saw as a girl in the house of mirrors. This is as thrilling and horrific as it is thought-provoking.
Won 0 Oscars / Nominated for 0 more
The first thing people asked me about this is if I liked it more than Get Out. I guess I'm in the minority, but the quick answer is that I do. Get Out's message is so much more blatant. Us, on the other hand, is much more inconspicuous. Its the type of film that had me thinking on what it all means for days. Its the type of film you love to hear different theories and opinions. That's two horror movies in a row from Peele that got people talking. Although I mentioned that the Oscars mostly got it right this year, Lupita Nyong'o was the biggest snub for me. She provides such a chilling performance; her large eyes are conduits for fear, curiosity, motherly anxiety, and all sorts of overwhelming emotion. She's the best in a cast of solid performances (even the kids!). The humor from Winston Duke is a lifebuoy thrown out to us in an ocean of pure terror. The tone of the film is such a low drone of unease, much like Lupita always looking over her shoulder for the person she saw as a girl in the house of mirrors. This is as thrilling and horrific as it is thought-provoking.
7. Avengers: Endgame [Anthony Russo, Joe Russo]
Won 0 Oscars / Nominated for 1 more (Best Visual Effects)
What an event this was. I will always remember the AMC app and website completely crashing for half the day when tickets went on sale for this. I ended up walking to the nearest theater and buying nearly 20 tickets for all of the people that wanted to join me for this. The end of an era for the Marvel Cinematic Universe was must-watch from minute 1 of its opening and people still love it all these months later. Its fan service at its very best. It gives fans of the MCU what we've wanted in terms of closure and finality. There are threads to take us into Phase Four, but the Infinity Saga is at an end. Twenty-one movies led to this and the references are plenty and satisfying. If you were ever a fan of any of these MCU installments, there is definitely something in this for you. Sometimes, we have to look back to move forward and this movie does this wonderfully. A true love letter. Oh, and Thicc Thor for life!
Won 0 Oscars / Nominated for 1 more (Best Visual Effects)
What an event this was. I will always remember the AMC app and website completely crashing for half the day when tickets went on sale for this. I ended up walking to the nearest theater and buying nearly 20 tickets for all of the people that wanted to join me for this. The end of an era for the Marvel Cinematic Universe was must-watch from minute 1 of its opening and people still love it all these months later. Its fan service at its very best. It gives fans of the MCU what we've wanted in terms of closure and finality. There are threads to take us into Phase Four, but the Infinity Saga is at an end. Twenty-one movies led to this and the references are plenty and satisfying. If you were ever a fan of any of these MCU installments, there is definitely something in this for you. Sometimes, we have to look back to move forward and this movie does this wonderfully. A true love letter. Oh, and Thicc Thor for life!
6. Marriage Story [Noah Baumbach]
Won 1 Oscar (Best Supporting Actress) / Nominated for 5 more (Best Picture, Best Actor, Best Actress, Best Original Screenplay, Best Original Score)
This is a beautiful love story with the conflicting narrative of divorce proceedings. There's so many parallels one can draw from the what is happening within the story and how a relationship unfolds. The ebbs and flows, the good times and bad, the miscommunications, the self vs. family struggle... these themes manifest themselves in bursts as well as the overall narrative. In that way, its an extremely smart script and every scene is relatable and evokes emotion in organic ways. For example, the scene - in which the two leads argue in Adam Driver's new apartment starts out as the two of them just wanting to talk, it escalates, they start arguing about petty things, then it takes another turn for the worse, and then they are consoling each other. It all feels so real and that's a big testament to the leads - Scarlett Johansson (this is perhaps her best work) and Driver (so good). Laura Dern is incredible too as she is able to toggle back and forth between aggressive lawyer and a potential friend. Much like The Farewell, this film manages to mix laughter with sadness and it feels so real.
Won 1 Oscar (Best Supporting Actress) / Nominated for 5 more (Best Picture, Best Actor, Best Actress, Best Original Screenplay, Best Original Score)
This is a beautiful love story with the conflicting narrative of divorce proceedings. There's so many parallels one can draw from the what is happening within the story and how a relationship unfolds. The ebbs and flows, the good times and bad, the miscommunications, the self vs. family struggle... these themes manifest themselves in bursts as well as the overall narrative. In that way, its an extremely smart script and every scene is relatable and evokes emotion in organic ways. For example, the scene - in which the two leads argue in Adam Driver's new apartment starts out as the two of them just wanting to talk, it escalates, they start arguing about petty things, then it takes another turn for the worse, and then they are consoling each other. It all feels so real and that's a big testament to the leads - Scarlett Johansson (this is perhaps her best work) and Driver (so good). Laura Dern is incredible too as she is able to toggle back and forth between aggressive lawyer and a potential friend. Much like The Farewell, this film manages to mix laughter with sadness and it feels so real.
5. Little Women [Greta Gerwig]
Won 1 Oscar (Best Costume Design) / Nominated for 5 more (Best Picture, Best Actress, Best Adapted Screenplay, Best Supporting Actress, Best Original Score)
Another shameful snub at the Oscars is Greta Gerwig's absence in the Best Director category. I also wish she would have won for writing, but the Awards don't make or break how great this film is! Once it settled with me and I slowly felt like I became part of this family, I couldn't help but care for each and every situation with the four sisters (well, three sisters - I really don't care for Emma Watson and her terrible American accent). The structure of toggling between the current and seven years prior makes the film so engaging. We get to learn key moments of these characters' lives after hints are dropped in the current timeline. There's some creative parallels that happen too, namely the scenes on the beach and the moments when Beth is sick. I love the contrasting styles too, to kind of guide us into which time period we are in (I mostly noticed the color pallete to differentiate the two periods). Gerwig creates some impossibly fantastic wide shots, ones that had me in tears on the sheer beauty alone. I also really enjoy the original music by Alexandre Desplat interwoven with the source piano music. Everything about this movie is gorgeous and I can't wait to see what Gerwig does next.
Won 1 Oscar (Best Costume Design) / Nominated for 5 more (Best Picture, Best Actress, Best Adapted Screenplay, Best Supporting Actress, Best Original Score)
Another shameful snub at the Oscars is Greta Gerwig's absence in the Best Director category. I also wish she would have won for writing, but the Awards don't make or break how great this film is! Once it settled with me and I slowly felt like I became part of this family, I couldn't help but care for each and every situation with the four sisters (well, three sisters - I really don't care for Emma Watson and her terrible American accent). The structure of toggling between the current and seven years prior makes the film so engaging. We get to learn key moments of these characters' lives after hints are dropped in the current timeline. There's some creative parallels that happen too, namely the scenes on the beach and the moments when Beth is sick. I love the contrasting styles too, to kind of guide us into which time period we are in (I mostly noticed the color pallete to differentiate the two periods). Gerwig creates some impossibly fantastic wide shots, ones that had me in tears on the sheer beauty alone. I also really enjoy the original music by Alexandre Desplat interwoven with the source piano music. Everything about this movie is gorgeous and I can't wait to see what Gerwig does next.
4. Portrait of a Lady on Fire [CĂ©line Sciamma]
Won 0 Oscars / Nominated for 0 more
Watching this film unfold is simply beautiful. It takes some time to get in the groove of the slow pace, mainly due to the lack of music and the subtle editing that includes some longer takes, but once you realize that moments aren't wasted (but rather echoed later in the film) every second matters. There are films that include moments that seem mostly throw-away, just to develop chemistry between two romantic partners. This manages to have these seemingly throw-away moments, but the second half of the film is picking up those thrown-away pieces. Case in point - there's a scene in which Heloise asks when Marianne thinks was the first time that she (Heloise) wanted to kiss her (Marianne). This allows the viewer to think back to each moment leading up to that first kiss. This reiterates the fact that there are so many interactions filled to the brim with meaning.
Won 0 Oscars / Nominated for 0 more
Watching this film unfold is simply beautiful. It takes some time to get in the groove of the slow pace, mainly due to the lack of music and the subtle editing that includes some longer takes, but once you realize that moments aren't wasted (but rather echoed later in the film) every second matters. There are films that include moments that seem mostly throw-away, just to develop chemistry between two romantic partners. This manages to have these seemingly throw-away moments, but the second half of the film is picking up those thrown-away pieces. Case in point - there's a scene in which Heloise asks when Marianne thinks was the first time that she (Heloise) wanted to kiss her (Marianne). This allows the viewer to think back to each moment leading up to that first kiss. This reiterates the fact that there are so many interactions filled to the brim with meaning.
3. Parasite [Bong Joon Ho]
Won 4 Oscars (Best Picture, Best Director, Best Original Screenplay, Best International Film) / Nominated for 2 more (Best Film Editing, Best Production Design)
Aside from the beautiful camerawork, the pinpoint editing, the sweeping and whimsical original score, and the captivating performances, what gets me the most is how perfectly things clash throughout the film. Its subtle yet isn't shy about highlighting its themes. It can be fun yet will shift on a dime to provide haunting imagery. Even the genres clash, sometimes its comedy, sometimes its drama, sometimes its horror. One moment exemplifies this sentiment, and its a moment that has elicited the most audible reaction from me in quite some time. The scene involves a former employee of the house and some stairs. My facial expression turned from laughter to extreme shock in a nanosecond and I couldn't help but do this dry laugh-gasp. I've never done this before so I thank Bong Joon-ho for creating a new noise from my body. The commentary on class (a through-line in 2019 cinema) is the most visually stunning in this film - the vertical-ness of the poor living below ground and the rich in the elevated house. Even within the house itself features some vertical concepts. Joker's stairs have nothing on the stairs in this movie.
Won 4 Oscars (Best Picture, Best Director, Best Original Screenplay, Best International Film) / Nominated for 2 more (Best Film Editing, Best Production Design)
Aside from the beautiful camerawork, the pinpoint editing, the sweeping and whimsical original score, and the captivating performances, what gets me the most is how perfectly things clash throughout the film. Its subtle yet isn't shy about highlighting its themes. It can be fun yet will shift on a dime to provide haunting imagery. Even the genres clash, sometimes its comedy, sometimes its drama, sometimes its horror. One moment exemplifies this sentiment, and its a moment that has elicited the most audible reaction from me in quite some time. The scene involves a former employee of the house and some stairs. My facial expression turned from laughter to extreme shock in a nanosecond and I couldn't help but do this dry laugh-gasp. I've never done this before so I thank Bong Joon-ho for creating a new noise from my body. The commentary on class (a through-line in 2019 cinema) is the most visually stunning in this film - the vertical-ness of the poor living below ground and the rich in the elevated house. Even within the house itself features some vertical concepts. Joker's stairs have nothing on the stairs in this movie.
2. Knives Out [Rian Johnson]
Won 0 Oscars / Nominated for 1 more (Best Original Screenplay)
This is by far my favorite screenplay of the year. The plot is thick and twisting - it not only fantastically entertains from front to back but has a lot to say politically as well. Its even outright blatant about it, forcing a solid discussion after the film. The whodunnit genre has never been better - even the tropes are superbly satisfying. The flashbacks are expertly weaved to unravel only so much of the mystery as we need at that point in the narrative. Don't get me wrong, I always knew there was something more to the story at any given moment, but the process of figuring it out is so delightful. I haven't had this much fun at the theater in quite some time. The acting is all outstanding but Daniel Craig and Ana de Armas stand out. Craig's southern accent and mannerisms are so juicy. de Armas' performance is layered and perfect for the being in the center of the chaos. Chris Evans is excellent as well. Rian Johnson manages to make this work as pure entertainment for the mystery just as much as the political commentary and discussion that should ensue. I can't wait to see it again with the lens of the truth behind the mystery.
Won 0 Oscars / Nominated for 1 more (Best Original Screenplay)
This is by far my favorite screenplay of the year. The plot is thick and twisting - it not only fantastically entertains from front to back but has a lot to say politically as well. Its even outright blatant about it, forcing a solid discussion after the film. The whodunnit genre has never been better - even the tropes are superbly satisfying. The flashbacks are expertly weaved to unravel only so much of the mystery as we need at that point in the narrative. Don't get me wrong, I always knew there was something more to the story at any given moment, but the process of figuring it out is so delightful. I haven't had this much fun at the theater in quite some time. The acting is all outstanding but Daniel Craig and Ana de Armas stand out. Craig's southern accent and mannerisms are so juicy. de Armas' performance is layered and perfect for the being in the center of the chaos. Chris Evans is excellent as well. Rian Johnson manages to make this work as pure entertainment for the mystery just as much as the political commentary and discussion that should ensue. I can't wait to see it again with the lens of the truth behind the mystery.
1. The Lighthouse [Robert Eggers]
Won 0 Oscars / Nominated for 1 more (Best Cinematography)
This movie is complete bonkers. Its devoid of hope and dirtier than a bedpan full of shit but I absolutely love it. For me, it all starts with the sound. This is the best sound design I've heard in the theaters all year. The blaring of the foghorn, the crashing of the waves, the chirps of the seagulls, the blatting of Willem Dafoe's flatulence, the howling winds and rain, the mechanical noises of the clocks in the house... its all so perfect. It sounded like I was on this island, which might be last place I want to be. Its mixed so well with the score by Mark Korven. There is so much brass, which makes sense. Even the foghorn sounds like a huge brass instrument. At times, the music is chilling and haunting, but its also brash and in your face when it needs to be. There are a couple of moments when Robert Pattinson yells at the top of his lungs but we hear the loudest brass blast of all time. Its incredible. The acting by Dafoe and Pattinson are just right for this movie. Pattinson has a very physical performance, and it feels like we are right there with him as he's dragging an oil barrel up a spiral staircase or replacing old shingles. Dafoe's pattern of dialogue is so outlandish that we feel transported to another time. The time period is somewhat ambiguous but I hear that its late 19th century. Its a lot of "said he" and "thank ye, my lad" kind of stuff. Kind of difficult to understand, but once you get into it, you're in another world. The pacing of the movie does a phenomenal job to slowly spiral your psyche into the depths of isolation and alcoholism on a forsaken island. As one can assume, its all downhill and completely nuts. I never knew what was going to happen next, but I knew it was going to look and sound good. Speaking of looking good, that aspect ratio is so unique. It's almost a square and it really shows off the verticality of the lighthouse itself. It also feels restrictive, which is exactly what the film calls for. There's just so many sound decisions made throughout the creative process of this movie. I could go on and on... about how the black-and-white looks more like an old film than does other modern black-and-white films... about how meticulous the building looked... and about how Dafoe literally eats dirt for this performance. Everything is 110% and it shows.
Won 0 Oscars / Nominated for 1 more (Best Cinematography)
This movie is complete bonkers. Its devoid of hope and dirtier than a bedpan full of shit but I absolutely love it. For me, it all starts with the sound. This is the best sound design I've heard in the theaters all year. The blaring of the foghorn, the crashing of the waves, the chirps of the seagulls, the blatting of Willem Dafoe's flatulence, the howling winds and rain, the mechanical noises of the clocks in the house... its all so perfect. It sounded like I was on this island, which might be last place I want to be. Its mixed so well with the score by Mark Korven. There is so much brass, which makes sense. Even the foghorn sounds like a huge brass instrument. At times, the music is chilling and haunting, but its also brash and in your face when it needs to be. There are a couple of moments when Robert Pattinson yells at the top of his lungs but we hear the loudest brass blast of all time. Its incredible. The acting by Dafoe and Pattinson are just right for this movie. Pattinson has a very physical performance, and it feels like we are right there with him as he's dragging an oil barrel up a spiral staircase or replacing old shingles. Dafoe's pattern of dialogue is so outlandish that we feel transported to another time. The time period is somewhat ambiguous but I hear that its late 19th century. Its a lot of "said he" and "thank ye, my lad" kind of stuff. Kind of difficult to understand, but once you get into it, you're in another world. The pacing of the movie does a phenomenal job to slowly spiral your psyche into the depths of isolation and alcoholism on a forsaken island. As one can assume, its all downhill and completely nuts. I never knew what was going to happen next, but I knew it was going to look and sound good. Speaking of looking good, that aspect ratio is so unique. It's almost a square and it really shows off the verticality of the lighthouse itself. It also feels restrictive, which is exactly what the film calls for. There's just so many sound decisions made throughout the creative process of this movie. I could go on and on... about how the black-and-white looks more like an old film than does other modern black-and-white films... about how meticulous the building looked... and about how Dafoe literally eats dirt for this performance. Everything is 110% and it shows.