Top That! My Ten Favorite Films of 2019

It’s Oscar weekend, so I figured now is as good a time as any to announce my ten favorite movies of 2019. There’s not a whole lot of science that goes into my process; it’s mostly gut feeling that determines what goes into this list and how I’m arranging it. The emotional response is the most reliable metric I have — how well have these movies resonated with me, how long have they lingered in my mind? How did they make me feel when I first saw them? To a lesser degree, how much replay value do these movies have? Do I want to watch them again? Would I pay to watch them again? Not that the money makes that much of a difference, but these things can still be useful in making final decisions. 

With that said, these are the ten titles that made it. I suppose one of the benefits of missing a lot of movies last year (and I mean A LOT) is that I’m not feeling that bad for leaving some big ones off of this list. So I suppose you could call this Top That fairly off the beaten path. What do we have in common? What do we have different? 


Aw hell, there goes the neighborhood. Well, sort of. Quentin Tarantino’s tribute to the place that made him super-famous (and super-rich) turns out to be far more “mellow” than expected. Sparing one or two outbursts, considering the era in which it is set — of Charles Manson, Sharon Tate and a whole host of hippie-culty killings — this is not exactly the orgy of violence some of us (okay, me) feared it might be. Once Upon a Time . . . in Hollywood is, tonally, a different and maybe more compassionate QT but this fairly meandering drama also bears the marks of the revisionist historian he has shown himself to be in things like Inglourious Basterds. He gets a little loosey goosey with facts and certain relationships but that comes second to the recreation of a specific time period, one which TV actor Rick Dalton (Leonardo DiCaprio) and his stunt-double, BFF and gopher Cliff Booth (Brad Pitt) are not so much strolling but struggling through. It’s the end of the ’60s and their careers are on the decline as the times they are a’changin’ in the land of Broken Dreams. Once Upon a Time does not skimp on capital-C characters and is quite possibly his most purely enjoyable entry to date.

My review of Once Upon a Time . . . in Hollywood 

It’s not often you see Mark Duplass in a bonafide tear-jerker, so if nothing else Paddleton proves his versatility as an actor. Don’t worry though, this movie is still very quirky. He plays Michael, a man in his early 40s dying of cancer and who chooses to forego chemo in order to spend his remaining days doing the same things he’s always done with his upstairs neighbor and best friend in the whole wide world, Andy, played by a heartbreaking Ray Romano. Over the span of a very well spent but not always easy 90 minutes we wrestle with the philosophical ramifications of someone choosing to end their life on their own terms, contemplate the possibility of the afterlife and, of course, watch kung fu, eat pizza and learn the rules of this pretty cool game called Paddleton — think squash/racquetball played off the side of a building. Beyond the controversial subject matter, Paddleton offers one of the more tender and honest portrayals of male friendship I saw all year. And that ending . . . wow.

My review of Paddleton

Thanks to a random visit to my local Walmart Redbox I got to catch up with this ingenious little chamber piece from Swedish filmmaker Gustav Möller. It opened in America in October 2018 but I didn’t see it until March 2019. I was so impressed with the set-up and eventual payoff I just could not leave it off this list. The Guilty (Den Skyldige) is about a recently demoted cop working the phones at a crisis hotline center near Stockholm. He clearly doesn’t want to be there. His day livens up when he fields a call from a woman in distress. As the situation deteriorates we learn a great deal about the man and the officer, who finds himself calling upon all his resources and his experience to resolve the crisis before his shift is over. The only other main characters in this fascinating drama are inanimate objects. It’s the kind of minimalist yet deeply human storytelling that makes many Hollywood dramas seem over-engineered by comparison.

My review of The Guilty 

Without a doubt one of the feel-good movies of 2019, The Peanut Butter Falcon is to some degree a modern reinvention of classic Mark Twain that finds Shia LeBeouf at a career-best as Tyler, a miscreant with a good heart living in the Outer Banks and trying to make ends meet . . . by stealing other fishermen’s stuff. When Tyler encounters Zak, a young man with Down syndrome who has found his way aboard his johnboat after having eluded his caretaker Eleanor (Dakota Johnson) and the nursing home in which he’s been placed by the state, the two embark on a journey of discovery that — yeah, you know where this is going. TPBF may be predictable but this is the very definition of the destination not mattering anywhere near as much as the journey itself. That destination, though, is pretty great. Especially when you come to the realization that it’s none other than Thomas Haden Church who is the vaunted “Saltwater Redneck.” I haven’t even mentioned Zack Gottsagen as the break-out star of this movie. He’s nothing short of fantastic, and one of the main reasons why I’m such a fan of this little indie gem.

My review of The Peanut Butter Falcon

Two words: Space Pirates.

And I’m talking about legitimately lawless assholes running amok on the dark side of the moon — more the “I’m the Captain now” type and less Captain Hook. The escape sequence across no-man’s land is like something out of Mad Max and even better it’s one of the most obvious (yet compelling) manifestations of Ad Astra‘s cynicism toward mankind. Of course we’re going to colonize the Moon. And there’ll be Wendy’s and Mickey D’s in whatever Crater you live closest to.

But this (granted, rare) action scene is merely one of many unforgettable passages in James Gray’s hauntingly beautiful and melancholic space sojourn about an emotionally reserved astronaut (Brad Pitt) in search of his long-lost father (Tommy Lee Jones), an American hero thought to have disappeared but now is suspected to be the cause of a major disturbance in deep space. My favorite thing about Ad Astra is the somber tone in which it speaks. This is not your typical uplifting drama about human accomplishment. Despite Hoyte van Hoytema’s breathtaking cinematography Ad Astra does not romanticize the cosmos and what they may hold in store for us. I loved the audacity of this film, the near-nihilism. I understand how that didn’t sit well with others though. It’s not the most huggable movie out there.

My review of Ad Astra 

James Mangold’s Ford v Ferrari almost feels like a response to the vocal many bashing Hollywood for not making movies “like they used to.” The ghost of Steve McQueen hovers over this classic-feeling presentation of a true-life story. Ford v Ferrari describes how the Americans went toe-to-toe with the superior Italians at the 24 Hours of Le Mans, a brutal endurance race that takes place annually in the namesake French town and tests the very limits of mechanical integrity and driver performance. It’s truly remarkable how the director and his team juggle so many moving parts to make a movie about a fairly esoteric subject not only cohesive but endlessly entertaining. That’s of course in no small part due to the performances of Christian Bale and Matt Damon in the leading roles, and a strong supporting cast who are a lot of fun in their various capacities as corporate executives, passionate motor heads and supportive family members. The movie this most reminds me of is Ron Howard’s Rush, which was about Formula 1 racing. As great as that one was, Ford v Ferrari just might have topped it. Not only are the racing sequences thrillingly realized, the real-life sting at the end adds an emotional depth to it that I was not expecting.

I’m going to be blunt here: The Academy screwed the pooch by not inviting Todd Douglas Miller to the party this year. Forgive me for not really caring what the other documentaries achieved this year, I’m too upset over this one right now. Assembled entirely out of rare, digitally remastered footage of the successful Moon landing in July 1969 — the audio track culled from some 11,000 hours of tape! — and lacking any sort of distractions in the form of voice-over narration or modern-day interviews, this “direct cinema” approach puts you right in the space shuttle with the intrepid explorers Neil Armstrong (whose biopic First Man, which came out the year prior, makes for a killer double-feature and also what I suspect is to blame for Apollo 11‘s embarrassing snub), as well as Buzz Aldrin and the often forgotten Michael Collins (he orbited the Moon while the kids went out to play). Just like those precious first steps from the Eagle lander, Apollo 11, this time capsule of a documentary is a breathtaking accomplishment.

Waves is the third film from Texan-born indie director Trey Edward Shults and in it he has something pretty extraordinary. Set in the Sunshine State, Waves achieves a level of emotional realism that feels pretty rare. It’s a heartbreaking account of an African-American family of four torn apart in the aftermath of a loss. The cause-and-effect narrative bifurcates into two movements, one focused on the athletically gifted Tyler (a phenomenal Kelvin Harrison Jr.) and how he struggles to cope with an injury that may well derail his life plans; the other on his neglected sister Emily (an equally moving but much more subdued Taylor Russell) and how she deals with her own guilt. Beyond its excruciatingly personal story Waves also has a stylistic quality that is impossible to ignore. As a movie about what’s happening on the inside, very active camerawork and the moody, evocative score — provided by Trent Reznor and Atticus Ross — work in concert to place you in the headspace of the main characters. It all adds up to an experience that’s felt more than just passively taken in, and by the end of it you’ll feel both rewarded and exhausted.

This was a brutal thing to do, putting Parasite at #2. It’s sooo good. It’s actually my very first experience with a Bong Joon Ho movie and I feel like I have caught him in peak season. True, the application of metaphor isn’t very subtle in this genre-bending, history-making thriller (its nomination for an Oscar Best Pic is a first for Korean cinema) but then not much is subtle about the rapidly industrializing nation’s chronic class divide. The story is as brilliantly conceived as the characters are morally ambiguous, with a few twists stunning you as just when you think you’ve nailed where this is all going, the movie turns down a different and darker alley. Sam Mendes’ 1917 is going to win Best Pic this year, but you won’t hear me complaining if some-crazy-how Parasite ends up stealing the hardware.

My review of Parasite

Nothing else 2019 had to offer immersed me more than the sophomore effort by Robert Eggers, the stunningly talented director behind 2016’s equally disturbing The Witch. The Lighthouse is seven different kinds of weird, a unique tale about two lightkeeps stranded on a remote New England island and running on dwindling supplies of booze and sanity while trying not to die by storm or via paranoid delusions. It’s got two firecracker performances from Willem Dafoe (whose career to date has arguably been just a warm-up for Thomas Wake) and Robert Pattinson, who are expert in selling the desperation here. Beyond that, the story put together by the brothers Eggers is bursting with metaphorical meaning and indelible imagery. Best of all it becomes really hard to tell what’s real and what’s fantasy. Man, I tell ya — this movie cast a spell on me that still hasn’t worn off.

My review of The Lighthouse


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Photo credits: IMDb

Parasite

Release: Friday, November 8, 2019

→Theater

Written by: Bong Joon Ho; Jin Won Han

Directed by: Bong Joon Ho

I don’t know why, or how, I have never seen a Bong Joon Ho movie before now. The South Korean filmmaker is one of those major voices of world cinema that’s hard to ignore. Yet here I am, crawling out from underneath a (scholar’s) rock. And I wonder if all his movies are quite as metaphorical as Parasite? Or as good. Even if they aren’t he already has a fan in me; you all know how much I love metaphors. Even if they aren’t exactly subtle.

Parasite is a brilliant allegory for class warfare that to’s and fro’s between homes, between worlds and between seemingly disparate genres. The story, collaborated on by Ho and screenwriter Jin Won Han, focuses on the relationship between two families existing on opposite ends of the wealth spectrum. As you might suspect from the title, we are supposed to feel a certain way about that relationship, maybe even take sides. Ascertaining who the real bad and good guys are — or, if you like to play the metaphor game like I do, as we are perhaps intended here, who the real “parasites” and “hosts” are — is kind of the whole point of the exercise. Judging who is actually being victimized proves thrillingly challenging when every character is shaded with a moral grayness, when there is more going on beneath the surface than what first appears.

Ki-taek (Song Kang-ho) is the sloven patriarch of the Kim clan. He’s fallen on hard times with his restaurant business having collapsed. He has absolutely no prospects of securing regular income, but he does have the love of his family. His wife Chung-sook (Chang Hyae Jin), disaffected twentysomething daughter Ki-jeong (Park So Dam) and college-aged son Ki-woo (Choi Woo Sik) help him fold pizza boxes as a way to make some pennies. They steal wifi from upstairs (you just have to find the right corner in the right room) and allow themselves to be swallowed whole by the debris storms blown in from outside as street cleaners effectively double as fumigation for their semi-basement-level apartment.

Ki-taek can only see it as a blessing when a family friend, Min-hyuk (Park Seo-joon), one day comes by and gifts Ki-woo a “scholar’s rock,” which he says will bring material wealth to those in possession of it. Ki-woo views it as more metaphorical (then again, he says that about everything). That same friend later offers Ki-woo a job opportunity — he’s leaving the country to study abroad and needs someone to replace him as a tutor for the daughter of the wealthy Parks, who are apparently “nice but gullible.” For Ki-woo, who’s tired of combatting the homeless who like to urinate near their kitchen window, this is a no-brainer; he just needs some important documents to be forged and to make a good impression during the interview.

After gaining the Parks’ trust Ki-woo puts into motion an ambitious plan to get other members of his family involved. One by one they will each take on a different role serving this well-to-do household. Chauffeurs, live-in nannies, art therapists — opportunity abounds here. If all goes according to plan, something Papa Kim does not like to do as he thinks plans always fail, they will pull this off without ever being suspected of being related. What results goes beyond the most ingenious home invasion scheme you’ve ever seen; this is more like a life invasion — a long con of increasing boldness as the Kims set about vicariously living that sweet life, feeling very little remorse over the things they have done to ingratiate themselves into a world in which they seemingly do not belong.

Parasite made history at Cannes last year, becoming the first Korean film to take home the coveted Palme d’Or, the swanky film festival’s top prize.* I’m really not trying to invoke Ron Burgundy here but it’s kind of a big deal. Some fans have even renamed the honor the ‘Bong d’Or.’ So that’s been fun, and Parasite has been a fun movie to follow. It’s become a buzz word, a fashionable Google search ever since it first premiered, with Ho at the center of a lot of Oscartalk. Can he vie for one of those, too? Or is that just asking too much?

I tell you what would be asking too much: wanting more than what he delivers in his seventh feature film. The intrigue factor is ratcheted up constantly by a smart concept, a camera that moves voyeuristically through the intricacies of gorgeous, purpose-built sets, and Ho’s confident, playful direction. How he keeps Parasite from tipping completely into serendipity is no small feat, even though there are one or two elements here that threaten to cross the line (basement-operated light-switches, anyone? What architect thought that was a good idea?). Performances are uniformly excellent, and on multiple levels.

What’s most impressive is how Parasite fashions incredible entertainment out of a sobering reality. Ho is clearly sympathetic to the struggles of the working class and he’s put together a movie that’s both cultural and universal. This is the product of a director who has spent some 50 years watching his home transform from one of the poorest to among the most advanced industrial economies in the world. While Parasite certainly speaks to the direness of the Korean class divide its greatest strength is how it feels accessible as a human drama about dignity and decency.

* it also became THE FIRST KOREAN Film TO HAVE WON A GOLDEN GLOBE AWARD.

“….did I leave the house unlocked again?”

Recommendation: For this Bong Joon Ho newbie, Parasite is among the best movies of 2019. It’s a scathing indictment of the capitalist system that also happens to be blisteringly entertaining. Its message is creatively and powerfully delivered without being obnoxious. If you enjoy movies with sophisticated plots and that do not fit neatly into any one particular genre, Parasite should burrow deep into your skin. 

Rated: R

Running Time: 132 mins.

Quoted: “They’re rich but they’re still nice . . .”

“They’re nice because they’re rich!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: IMDb