Top 7 - My Favourite Films of 2019
With all the drama and high spectacle of The Oscars now behind us, I am finally prepared to release my top 7 list of my favourite films of 2019 and let me tell you, it has been a hell of a year for cinema, with a record number of films that I gave the highest rating possible. Even so, I haven't had a chance to see many films I think I might love (Monos, Waves and Honey Boy to name just three) and I wish I could have rewatched some films that could have benefited from the rewatch (like The Lighthouse, The Farewell and Midsommar) but still, hell of a line up I've got here. If you are wondering where certain films are though, I do have a complete Letterboxd list here, with all 95 of the feature films I saw this year ranked from best to worst. The rules are slightly warped this year, as I've counted films that were released in the UK in the first half of 2019 but then also counted films released in the US in the second half. It may not make sense to most, but it makes sense to me because that's where I've been living across the year. As an added bonus, because I've now learnt how to do hyperlinks this year, clicking on each films title will take you to my review of the film, either one done proper here on the blog, or jotted down on Letterboxd (as always, I'd love you to join us there). Anyway, with (I think) everything out the way, lets break down the honourable mentions!
Is it cinema? Well, I'm not a legendary director, I couldn't state that, but I at least feel comfy saying that Avengers: Endgame is the perfect end to the roller coaster that was this saga, the rare three hour movie that I ventured to the cinema twice for.
One of the most wholesome films on this list, A Beautiful Day in the Neighborhood makes the grade because it also piles on heaps of subversiveness on top of that heart of gold, not least in how it isn't really a biopic.
The end of an era personified in one big, three and a half hour, sad epic. Again, the perfect type of long film in that it sucks you into its grasp and never makes you feel like a minute of the runtime was wasted.
One of the most cruelly overlooked films of the year, The Souvenir is a fragment of a glimpse of a memory, caught on celluloid expertly evoking the feeling of being too close to someone to see all those red flags, waving you out to sea. It's a gentle, low-key gem.
The second best South Korean film on this list, Burning too captures the feeling of an indescribable feeling. I regret having only seen it once, I feel certain that my next watch will only drag me deeper under its woozy spell.
Maybe the most shocking thing about The Favourite was its breakout appeal, it being a film even my mum saw and loved, despite being from the director of Dogtooth. Weird and playful and fun in a way few period dramas dare to be.
I am unfortunately unable to capture the beauty of If Beale Street Could Talk in words, so just trust me when I say it is the most exquisite evocation of falling helplessly in love since Call Me By Your Name.
With the honourable mentions done, now is time for the truly heavy hitters, the seven films that rose above the rest in a year of sensational cinema.
I have a worry about 1917 that I won't like it as much when I see it outside of a cinema, as it's a film whose impact on me feels like it may already be fading. This is only a worry I have because I loved 1917 so much the first time I saw it. As you likely already know, this is a war film presented in two continuous takes, with the illusion that there are no cuts between scenes, a technical feat that could itself earn the film a place on this list. After all, I am a sucker for great visuals and there are few in the biz who can do it like Roger Deakins, creating some outstanding contrasts between light and shadow amid his smooth, omniscient tracking. This camerawork serves to really and truly immerse you in the film, leading you to at no point believe any character is safe. Danger is all around, maybe even just behind that camera which is turning oh so slowly. However, this is also a film whose emotional core is rock solid. Perhaps I'm becoming old before my time but one of the final scenes brought me to tears through its grace and restraint, because the themes are carried through the film just as gracefully as the camera is. If I did this list in a year, would 1917 make the cut? Hard to say, but for now, I'm certainly happy with it and its placement on my list.
I love a fun time at the movies. Perhaps that gets lost sometimes in all my pretentious jibber jabber and idolisation of heady films (may of which preceded this, many of which will proceed) but genuinely, nothing makes my day more than when a film is just start to finish fun. That is Knives Out, although it of course makes the list for much more than that, being a giddily exhilarating murder mystery and wry social commentary on top of all the fun it has with itself. For those unaware, Knives Out is the story of a murder mystery writer who is found dead and whom comical detective Benoit Blanc believes may have been murdered. Surrounding this mystery is an irresistible cast of rogues, lovable or otherwise. There's Ana DeArmas as the nurse, Chris Evans as the sleazebag grandson and Toni Collette as a slightly less outlandish version of Gwyneth Paltrow, among too many others to name. You will spend your time guessing who dunnit but also, with how deliciously diabolical some of these characters are, you'll wish they did it just to see them dragged away in handcuffs. There is also the added bonus that this is a wildly unpredictable story that is not lessened by a second viewing, a relief as this film should be trotted back out into cinemas every autumn so we can all enjoy ourselves together again. Plus, with news that Benoit Blanc will return in a future installment, now is a great time to finally see what all the fuss is about.
Speaking of having a roaringly raucous time at the cinema, let's talk Booksmart. I adore this film. Is it, on a technical level, a perfect, 10/10 movie? No, although it is damn well made, let us not discount that. What it is instead is a cinematic arrow aimed straight at my heart and launched perfectly, lodging itself in there since spring. Since I've already discussed how funny, well written and well acted it is, let me talk to you about the journey this film and I have been on. As it stands, I've seen the film three times and loved it each time because how could I not? That first time was at a secret preview screening event that Odeon often put on, where myself and my film studies buddies (whom I miss dearly) went along and laughed hysterically at every single bit of the film. It was the definition of cinema bringing people together and we spent almost an hour just standing outside the cinema talking about how much we loved what we'd seen. The second time was a little less remarkable but still, it had been a month since I'd seen the film and with the playlist blaring and me bugging my housemates about it non-stop since, I was in need of my next fix. The third time though may have been the most special, the perfect third act to conclude our story together. Over the winter break, I was in Los Angeles and while there, I attended a screening of Booksmart in the Cinerama Dome (arguably the most iconic cinema screen in the world), where director Olivia Wilde and stars Kaitlyn Dever and Beanie Feldstein did a post-screening Q&A. Much as this film deserves recognition based on its own merits, it would always make this list because of the immense journey we have taken across the world and my world together. This film means everything to me and it's only five on this list, that's how good a year it's been.
I never believe it when other people write it or say it but genuinely, these next four films could be (and have been) in pretty much any order. I've seen each of them at least twice, I think they are all masterpieces in their own perfect ways but it just so falls that as I write today, Uncut Gems lands here. Back in 2017, I saw Good Time at London Film Festival and had a jolly old time, appreciating the film ever more as time has gone on. When I found out the next film from these directors would star Adam Sandler, I was really worried, because Adam Sandler has made many films I cannot stand, although I kept that fragment of hope alive. As it turned out, not only did their filmmaking evolve and grow into a beast no poor performance could possibly vanquish, they crafted a role for Adam Sandler that is probably my favourite performance of the year. Since I saw the film, I have been quoting Howie any chance I can get, from the instant classic meme "This is how I win", the cruelly underrated "Holy shit, I'm gonna cum" and the almost impossible to use "Hey, KG". This is more than just a damn quotable film though, it's a shot of adrenaline straight into your eyes, a visual and sonic feast that I can only describe as an epic of the metropolis. Beyond that though, it's a film that you'll struggle not to love. I showed it to my flatmates recently as a reward for being dragged to see Bad Boys: For Life and seeing their reactions and joy was priceless, a viewing experience I will treasure. The only people who shouldn't check this out are those with heart problems, although if you watch this as much as I do, you may be suffering before long. Completely worth it though.
At one point, Marriage Story was my film of the year, something that only changed because when I rewatched it, it made the mistake of only being as good as the first time I saw it, as opposed to the other two films which only grew with time. I know, what a cardinal sin! As my sarcasm gestures to, Marriage Story is still a knockout of a film, a love story about divorce that is secretly a love story. The thing this film has become most famous for is its argument scene and I can't deny, that scene still knocks me flat every time. Even when they were showing clips of it at the Oscars, I was struggling to watch because of the power it has on me. A scene like that can only exist because of the brilliant work around it though, building characters we care about, a relationship we believe in and never ignoring the warmth that this film could collapse without. All I can do at this point is heap praise on Noah Baumbach who wrote and directed the shit out of this movie, a film that is as pure a movie going experience as you could ever want. Perhaps the only thing I can ding it for is that most people (myself included) will only be seeing this on TVs and laptops, although I guess you could argue that only heightens the domestic angst. In fact yes, I will argue that, it does heighten the domestic angst, even watching it in student apartments. It is an angst that can only work though because of stellar writing, performances and editing, as well as all the other hidden little aspects that were nailed just enough for me not to notice them. I love Marriage Story and I pray we never have a messy divorce, because I want to keep it in my life a while longer.
#BONGHIVE ASSEMBLE!!!! On Sunday night, Parasite won Best Picture at the Oscars, a turn that is historic for so many reasons. It was the first South Korean film to be nominated for any Oscar (let alone win), the first film not in the English language to win Best Picture and with it, director Bong Joon-Ho equalled Walt Disney's record of most Oscars won by one person on a single night (that total being four). Importantly, it was also historic because it's rare that a movie this good wins Best Picture. So delighted was I in fact that I genuinely screeched at the top of my lungs, something to which I will not apologise to my flatmates for, thank you very much. Even though Parasite isn't my favourite film of the year (and barely at that. Like I said, ask me next week, maybe you'll get a different answer), it feels like it might be the best. After seeing it on initial release and thinking it was bloody fab, I rewatched it and was blown away. That second watch, that new perspective changed everything. The first time was like seeing a robot do a trick, a trick you weren't expecting, followed by a series of even more amazing tricks. The second time though, the frame had all been stripped from the robot and I could see how it worked and I loved what I was watching even more for it, stomping my feet, clapping my hands and giggling like never before. What I am about to say is, of course, a statement that is foolish to make in the moment but I will say it anyway; of all the films on this list, I think Parasite is the one that will transcend time the best. It feels like a truly perfect movie, one I am already itching for my third viewing of. If you haven't seen Parasite yet, you have officially run out of excuses! It is finally out in the UK, it is still playing in the US, it is able to be seen anywhere people have eyes and stories are told. It is as immaculate as filmmaking gets and I defy you not to fall for it.
There could of course only be one winner and it was always going to be Hobbs and Shaw. A truly genre defining work, nay, a cinema defining work. It is the film to end all films, which is why I am puzzled cinemas still exist and awards are still given out that aren't to this. Quite simply, I laughed, I cried, I shit myself. With no hyperbole, this is the only film and... Hang on, I'm just getting word, this is a mistake. Oh my God, this is the wrong envelope, I can't believe it. Little Women, you guys won best film. This is not a joke, you guys won. This award is for you!
My Little Women. My hilarious, heartbreaking, wholly adored Little Women. What more can I say about you? I poured my heart and soul into this review, because Little Women feels like a truly special film. Somehow, an adaptation of a book, adapted on screen more than almost any other book, feels like a film that could not have been made any time but now, by anyone but Greta Gerwig, with any cast but this. As I wrote in my review, there's a special magic when films truly capture you, a magic even only a handful of these, my favourite films of the year, are capable of. This magic sweeps you away to another land, another time, maybe even another body. As the cliche goes, I wasn't sure whether I wanted to be or be with Jo March but I was sure I understood her, better even than I understood myself. She, and her three magical sisters, mother and friends, made my heart go places it has never been before. It may in fact still be wandering those lands, never willing to leave. Wrapping up, I don't know what else I can possibly add that I haven't already explained to death in my review (again, I'd really appreciate you checking that out above) but I think what I will end on is that I love the little touches of this film the most. If Little Women is a giant, warm blanket of a film, these are the tiny embroiderings, the ones you can only see up close and will share with no one but those you love dearest. Details like how Amy makes a mould of her feet because she thinks she has nice feet, how Laurie and Jo dance when out of sight of the windows, how the final shot cradles a book like a baby in the way that only those who love literature can understand AND I'M ALMOST CRYING WHILE WRITING THIS NOW! Will everyone adore Little Women as much as I did? Likely not, I think it's one of the most exceptional films of the decade, but to see this film and not feel anything at all? Impossible.
And with that wrapped up, let me briefly explain what to expect regarding the best of the 2010s stuff. It'll be business as usual on the blog for the next few months, chugging along as we usually do, until August, the sixth anniversary of me starting all this (Jesus, time flies huh?). In August, that is when the end of the decade stuff will be done. I've kept it back till then both because it's the anniversary month but also because it's a series of posts I want to really work hard on, so I'm giving myself as much time as I can reasonably allow. So keep an eye out for them, lovely to have you stop by as ever and I'll see you around.
Avengers: Endgame
Is it cinema? Well, I'm not a legendary director, I couldn't state that, but I at least feel comfy saying that Avengers: Endgame is the perfect end to the roller coaster that was this saga, the rare three hour movie that I ventured to the cinema twice for.
A Beautiful Day in the Neighborhood
One of the most wholesome films on this list, A Beautiful Day in the Neighborhood makes the grade because it also piles on heaps of subversiveness on top of that heart of gold, not least in how it isn't really a biopic.
The Irishman
The end of an era personified in one big, three and a half hour, sad epic. Again, the perfect type of long film in that it sucks you into its grasp and never makes you feel like a minute of the runtime was wasted.
The Souvenir
One of the most cruelly overlooked films of the year, The Souvenir is a fragment of a glimpse of a memory, caught on celluloid expertly evoking the feeling of being too close to someone to see all those red flags, waving you out to sea. It's a gentle, low-key gem.
Burning
The second best South Korean film on this list, Burning too captures the feeling of an indescribable feeling. I regret having only seen it once, I feel certain that my next watch will only drag me deeper under its woozy spell.
The Favourite
Maybe the most shocking thing about The Favourite was its breakout appeal, it being a film even my mum saw and loved, despite being from the director of Dogtooth. Weird and playful and fun in a way few period dramas dare to be.
If Beale Street Could Talk
I am unfortunately unable to capture the beauty of If Beale Street Could Talk in words, so just trust me when I say it is the most exquisite evocation of falling helplessly in love since Call Me By Your Name.
With the honourable mentions done, now is time for the truly heavy hitters, the seven films that rose above the rest in a year of sensational cinema.
7. 1917
I have a worry about 1917 that I won't like it as much when I see it outside of a cinema, as it's a film whose impact on me feels like it may already be fading. This is only a worry I have because I loved 1917 so much the first time I saw it. As you likely already know, this is a war film presented in two continuous takes, with the illusion that there are no cuts between scenes, a technical feat that could itself earn the film a place on this list. After all, I am a sucker for great visuals and there are few in the biz who can do it like Roger Deakins, creating some outstanding contrasts between light and shadow amid his smooth, omniscient tracking. This camerawork serves to really and truly immerse you in the film, leading you to at no point believe any character is safe. Danger is all around, maybe even just behind that camera which is turning oh so slowly. However, this is also a film whose emotional core is rock solid. Perhaps I'm becoming old before my time but one of the final scenes brought me to tears through its grace and restraint, because the themes are carried through the film just as gracefully as the camera is. If I did this list in a year, would 1917 make the cut? Hard to say, but for now, I'm certainly happy with it and its placement on my list.
6. Knives Out
I love a fun time at the movies. Perhaps that gets lost sometimes in all my pretentious jibber jabber and idolisation of heady films (may of which preceded this, many of which will proceed) but genuinely, nothing makes my day more than when a film is just start to finish fun. That is Knives Out, although it of course makes the list for much more than that, being a giddily exhilarating murder mystery and wry social commentary on top of all the fun it has with itself. For those unaware, Knives Out is the story of a murder mystery writer who is found dead and whom comical detective Benoit Blanc believes may have been murdered. Surrounding this mystery is an irresistible cast of rogues, lovable or otherwise. There's Ana DeArmas as the nurse, Chris Evans as the sleazebag grandson and Toni Collette as a slightly less outlandish version of Gwyneth Paltrow, among too many others to name. You will spend your time guessing who dunnit but also, with how deliciously diabolical some of these characters are, you'll wish they did it just to see them dragged away in handcuffs. There is also the added bonus that this is a wildly unpredictable story that is not lessened by a second viewing, a relief as this film should be trotted back out into cinemas every autumn so we can all enjoy ourselves together again. Plus, with news that Benoit Blanc will return in a future installment, now is a great time to finally see what all the fuss is about.
5. Booksmart
Speaking of having a roaringly raucous time at the cinema, let's talk Booksmart. I adore this film. Is it, on a technical level, a perfect, 10/10 movie? No, although it is damn well made, let us not discount that. What it is instead is a cinematic arrow aimed straight at my heart and launched perfectly, lodging itself in there since spring. Since I've already discussed how funny, well written and well acted it is, let me talk to you about the journey this film and I have been on. As it stands, I've seen the film three times and loved it each time because how could I not? That first time was at a secret preview screening event that Odeon often put on, where myself and my film studies buddies (whom I miss dearly) went along and laughed hysterically at every single bit of the film. It was the definition of cinema bringing people together and we spent almost an hour just standing outside the cinema talking about how much we loved what we'd seen. The second time was a little less remarkable but still, it had been a month since I'd seen the film and with the playlist blaring and me bugging my housemates about it non-stop since, I was in need of my next fix. The third time though may have been the most special, the perfect third act to conclude our story together. Over the winter break, I was in Los Angeles and while there, I attended a screening of Booksmart in the Cinerama Dome (arguably the most iconic cinema screen in the world), where director Olivia Wilde and stars Kaitlyn Dever and Beanie Feldstein did a post-screening Q&A. Much as this film deserves recognition based on its own merits, it would always make this list because of the immense journey we have taken across the world and my world together. This film means everything to me and it's only five on this list, that's how good a year it's been.
4. Uncut Gems
I never believe it when other people write it or say it but genuinely, these next four films could be (and have been) in pretty much any order. I've seen each of them at least twice, I think they are all masterpieces in their own perfect ways but it just so falls that as I write today, Uncut Gems lands here. Back in 2017, I saw Good Time at London Film Festival and had a jolly old time, appreciating the film ever more as time has gone on. When I found out the next film from these directors would star Adam Sandler, I was really worried, because Adam Sandler has made many films I cannot stand, although I kept that fragment of hope alive. As it turned out, not only did their filmmaking evolve and grow into a beast no poor performance could possibly vanquish, they crafted a role for Adam Sandler that is probably my favourite performance of the year. Since I saw the film, I have been quoting Howie any chance I can get, from the instant classic meme "This is how I win", the cruelly underrated "Holy shit, I'm gonna cum" and the almost impossible to use "Hey, KG". This is more than just a damn quotable film though, it's a shot of adrenaline straight into your eyes, a visual and sonic feast that I can only describe as an epic of the metropolis. Beyond that though, it's a film that you'll struggle not to love. I showed it to my flatmates recently as a reward for being dragged to see Bad Boys: For Life and seeing their reactions and joy was priceless, a viewing experience I will treasure. The only people who shouldn't check this out are those with heart problems, although if you watch this as much as I do, you may be suffering before long. Completely worth it though.
3. Marriage Story
At one point, Marriage Story was my film of the year, something that only changed because when I rewatched it, it made the mistake of only being as good as the first time I saw it, as opposed to the other two films which only grew with time. I know, what a cardinal sin! As my sarcasm gestures to, Marriage Story is still a knockout of a film, a love story about divorce that is secretly a love story. The thing this film has become most famous for is its argument scene and I can't deny, that scene still knocks me flat every time. Even when they were showing clips of it at the Oscars, I was struggling to watch because of the power it has on me. A scene like that can only exist because of the brilliant work around it though, building characters we care about, a relationship we believe in and never ignoring the warmth that this film could collapse without. All I can do at this point is heap praise on Noah Baumbach who wrote and directed the shit out of this movie, a film that is as pure a movie going experience as you could ever want. Perhaps the only thing I can ding it for is that most people (myself included) will only be seeing this on TVs and laptops, although I guess you could argue that only heightens the domestic angst. In fact yes, I will argue that, it does heighten the domestic angst, even watching it in student apartments. It is an angst that can only work though because of stellar writing, performances and editing, as well as all the other hidden little aspects that were nailed just enough for me not to notice them. I love Marriage Story and I pray we never have a messy divorce, because I want to keep it in my life a while longer.
2. Parasite
#BONGHIVE ASSEMBLE!!!! On Sunday night, Parasite won Best Picture at the Oscars, a turn that is historic for so many reasons. It was the first South Korean film to be nominated for any Oscar (let alone win), the first film not in the English language to win Best Picture and with it, director Bong Joon-Ho equalled Walt Disney's record of most Oscars won by one person on a single night (that total being four). Importantly, it was also historic because it's rare that a movie this good wins Best Picture. So delighted was I in fact that I genuinely screeched at the top of my lungs, something to which I will not apologise to my flatmates for, thank you very much. Even though Parasite isn't my favourite film of the year (and barely at that. Like I said, ask me next week, maybe you'll get a different answer), it feels like it might be the best. After seeing it on initial release and thinking it was bloody fab, I rewatched it and was blown away. That second watch, that new perspective changed everything. The first time was like seeing a robot do a trick, a trick you weren't expecting, followed by a series of even more amazing tricks. The second time though, the frame had all been stripped from the robot and I could see how it worked and I loved what I was watching even more for it, stomping my feet, clapping my hands and giggling like never before. What I am about to say is, of course, a statement that is foolish to make in the moment but I will say it anyway; of all the films on this list, I think Parasite is the one that will transcend time the best. It feels like a truly perfect movie, one I am already itching for my third viewing of. If you haven't seen Parasite yet, you have officially run out of excuses! It is finally out in the UK, it is still playing in the US, it is able to be seen anywhere people have eyes and stories are told. It is as immaculate as filmmaking gets and I defy you not to fall for it.
1. Fast and Furious Presents: Hobbs and Shaw
There could of course only be one winner and it was always going to be Hobbs and Shaw. A truly genre defining work, nay, a cinema defining work. It is the film to end all films, which is why I am puzzled cinemas still exist and awards are still given out that aren't to this. Quite simply, I laughed, I cried, I shit myself. With no hyperbole, this is the only film and... Hang on, I'm just getting word, this is a mistake. Oh my God, this is the wrong envelope, I can't believe it. Little Women, you guys won best film. This is not a joke, you guys won. This award is for you!
1. Little Women
My Little Women. My hilarious, heartbreaking, wholly adored Little Women. What more can I say about you? I poured my heart and soul into this review, because Little Women feels like a truly special film. Somehow, an adaptation of a book, adapted on screen more than almost any other book, feels like a film that could not have been made any time but now, by anyone but Greta Gerwig, with any cast but this. As I wrote in my review, there's a special magic when films truly capture you, a magic even only a handful of these, my favourite films of the year, are capable of. This magic sweeps you away to another land, another time, maybe even another body. As the cliche goes, I wasn't sure whether I wanted to be or be with Jo March but I was sure I understood her, better even than I understood myself. She, and her three magical sisters, mother and friends, made my heart go places it has never been before. It may in fact still be wandering those lands, never willing to leave. Wrapping up, I don't know what else I can possibly add that I haven't already explained to death in my review (again, I'd really appreciate you checking that out above) but I think what I will end on is that I love the little touches of this film the most. If Little Women is a giant, warm blanket of a film, these are the tiny embroiderings, the ones you can only see up close and will share with no one but those you love dearest. Details like how Amy makes a mould of her feet because she thinks she has nice feet, how Laurie and Jo dance when out of sight of the windows, how the final shot cradles a book like a baby in the way that only those who love literature can understand AND I'M ALMOST CRYING WHILE WRITING THIS NOW! Will everyone adore Little Women as much as I did? Likely not, I think it's one of the most exceptional films of the decade, but to see this film and not feel anything at all? Impossible.
And with that wrapped up, let me briefly explain what to expect regarding the best of the 2010s stuff. It'll be business as usual on the blog for the next few months, chugging along as we usually do, until August, the sixth anniversary of me starting all this (Jesus, time flies huh?). In August, that is when the end of the decade stuff will be done. I've kept it back till then both because it's the anniversary month but also because it's a series of posts I want to really work hard on, so I'm giving myself as much time as I can reasonably allow. So keep an eye out for them, lovely to have you stop by as ever and I'll see you around.
Comments
Post a Comment