Cynthia Li’s Top 10 Films of 2019

According to Dictionary.com, the 2019 word of the year was existential. Existential defined as “of or relating to the existence and/or concerned with the nature of human existence as determined by the individual’s freely made choices.” In choosing the word existential, the importance lies in that it, “inspires us to ask big questions about who we are and what our purpose is in the face of our various challenges—and it reminds us that we can make choices about our lives in how we answer those questions.” If that is the importance of the word existential, then I can’t describe a better word to describe how I felt about the 2019 year in films. As the movie landscape continuously becomes bombarded with the same formulaic box-office hits, it’s the gems found within that provide me the most hope, as they ask the questions that the word existential ponders us to question. These are the films that ask questions not for purely the creation of entertainment, but because they view the world of cinema as life and death, a world in which the words and images spattered on the screen work to make a difference in a viewer’s perspective of life.

Continue reading “Cynthia Li’s Top 10 Films of 2019” →

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Ryan Circelli’s Top Ten Films of 2019

2019 has been one of the best years for film of the past decade. The year was full of incredible and interesting sophomore efforts from rising star directors, like Ari Aster’s Midsommar, Jordan Peele’s Us, Robert Eggers’s The Lighthouse and Greta Gerwig’s Little Women. Industry veterans, like Tarantino, Scorsese and Bong Joon Ho added to their already impressive resumes. Big blockbusters also had their time in the spotlight as Avengers: Endgame broke box office records with its historic release in April. There were so many magnificent films from the past year that it was almost impossible to pick just ten of the best. Additionally, it wouldn’t feel right if I didn’t mention some honorable mentions that deserve recognition as great films.

Avengers: Endgame was the culmination of 10 years of storytelling that was finally brought to a satisfying conclusion. I was mostly astounded and impressed at the feat of making a big budget series end in a way that was coherent and satisfying. Ad Astra was a thrilling sci-fi epic telling the story of an astronaut who tried so hard to be his father only to realize that he should become his own man separate from his father. Booksmart was a refreshing female friendship and coming of age film, from a first-time director that had me dying with laughter. Under the Silver Lake and I Lost My Body were both films that had strange narratives but worked well and kept me interested throughout the entire runtime. After much consideration, these and many other great films just couldn’t make it into my top ten. Now that I’ve mentioned so of the greats from this past year, Let’s move onto my top ten favorite films of 2019.

10. The Irishman (Martin Scorsese, 2019)

Martin Scorsese brings us into the world of gangsters once again, but instead of the glitz and glamour of Casino and Goodfellas, we are instead treated to a slow paced, grim look at the life of one mobster, Frank Sheehan. This self-reflexive look at the gangster genre that Scorsese helped breathe life back into shows that being a gangster commonly left you either dead or alone with no one left to care about you. Although it is a depressing message, it reigns true and Scorsese reminds the audience of this with intro text for each new character stating how they died. The film’s 3.5 hour runtime doesn’t waste a second showing you how the lives of people are affected by the gangster lifestyle. While the expensive de-aging technology can only shave off a few years off the actors’ faces, their performances were as energizing as their performances from years ago. The Irishman is a captivating addition to Scorsese’s filmography that would be the perfect end to a strong, successful career.

You can read my full review of The Irishman here.

9. The Lighthouse (Robert Eggers, 2019)

Upon leaving the theater after watching The Lighthouse, I felt like I was a bit disappointed because I had expected to see something like Eggers’ The Witch. However, after letting the film ruminate, I realized that the film was a lot better than I had originally thought. Robert Eggers has created another disturbing period piece, which can become nonsensical at times with the plot, but still keeps the viewer engaged in what’s happening on screen. The decision to shoot the film in black and white helps set the tone along with the ominous music and sounds coming from the lighthouse. The 4:3 aspect ration also helps focus on a very performance heavy film. Both Willem Dafoe and Robert Pattinson give some of the best performances of this past year. Robert Eggers is yet another up and coming director that I personally can’t wait to see what he has in store for the future.

You can read PJ Knapke’s full review of The Lighthouse here.

8. Little Women (Greta Gerwig, 2019)

Greta Gerwig’s adaptation of the classic novel is a joy to watch in the cinema. Little Women follows the March sisters as they live their lives together and make their own paths following their dreams and aspirations. The film is a wonderful period piece that is exquisitely designed and shot. From the beautiful costumes to the well-crafted sets, it is clear every bit of the film was created with passion for the film. Saoirse Ronan, Timothée Chalamet, and Emma Watson were all stunning in the film and Florence Pugh definitely deserves her Oscar nomination for her role in this film. Greta Gerwig has successfully made both a low budget and middle budget film and I’m excited to see more and what she could do with a blank check.

You can read Stephanie Chuang’s full review of Little Women here.

7. Waves (Trey Edwards Shults, 2019)

The night of the screening I went to for Waves, I showed up at the wrong theater and had to Uber across town and barely got to the theater before the start of the film. All I could think about after I sat down was, “I really hope this film was worth the $16.77 for the Uber I took to get here.” Two hours and 15 minutes later I was sitting in my seat, silent in awe of what I just watched, and all I could think was, it was so worth that Uber to watch this. Trey Edward Shults has created this intense family drama that feels so real. The film is full of beautiful shots, scenes that will bring you to tears, and quite possibly the most needle drop soundtrack that exists. The budget to license songs for this film must have been half of its budget and it was worth it. This is another film I can’t wait to revisit as soon as I can.

You can read Rohan Patel’s full review of Waves here.

6. Knives Out (Rian Johnson, 2019)

Rian Johnson, the master of the genre subversion, has done it once again with Knives Out. This modern who-done-it is one of the most fun theater going experiences I’ve had in a while. I was pleasantly surprised at how Rian Johnson was able to keep me guessing right up until the very end. The film is well written, well-paced and Johnson’s ensemble cast does an incredible job of making his world come alive right on the screen.

You can read Rohan Patel’s full review of Knives Out here.

5. Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

Quintin Tarantino’s 9th film sends us back in time once again to bring us his happy ending fairytale from the Hollywood of the late 60s. It tells the story of fictional actor Rick Dalton and his best friend and stuntman Cliff Booth as they go about their everyday business, all while a looming threat from the Manson family lurks in the shadows. If I could name one of Tarantino’s films that is the most ‘Tarantino,’ it would be Once Upon a Time in Hollywood. It takes place in the film industry and focuses actors and stuntmen as they go about their days filming and living their life. It would almost be a fitting end to his career in film, but he has his heart set on one more film and no one is going to stop him. While it is on the longer side, I still had a good time enjoying the slower parts of the film. Leonardo DeCaprio, and Brad Pitt both give great performances in the film and I think Margot Robbie’s role as Sharon Tate isn’t talked about enough, given how good it was. Once Upon a Time in Hollywood is definitely a film that I will be gladly revisiting as soon as possible and one that everyone should take the time to see.

You can read Jim Saunders’ full review of Once Upon a Time in Hollywood here and listen to UW Film Club’s podcast on Once Upon a Time in Hollywood here.

4. Uncut Gems (Josh and Benny Safdie, 2019)

An excerpt from my review – “Before going to see this film, I revisited Josh and Benny Safdie’s previous directorial effort, Good Time, and it reminded me why I was so excited to see Uncut Gems. From that film alone, it’s easy to see all the potential for the Safdie brothers both as writers and directors. Uncut Gems is the embodiment of that potential; they have found a type of narrative that they can tell extraordinarily well and a style that perfectly coincides with that narrative.” The film follows Howard Ratner (Adam Sandler), a degenerate gambler/jeweler in the diamond district of downtown Manhattan. The film follows Howard throughout the city as he is making bets and taking huge risks that he hopes will eventually pay off. Once the plot starts going it’s non-stop until the very end of the film. Howard Ratner’s character was written specifically for Adam Sandler and it is clearly evident on screen. It’s hard to imagine anyone other than Sandler as the sleazy 2012 gem dealer. This film is one of the most intense rides of recent years and everyone who is the least bit curious should carve out the time to see it.

You can read my full review of Uncut Gems here.

3. 1917 (Sam Mendes, 2019)

1917 is the “one shot” WW1 film that I didn’t know I needed to exist. 1917 takes you down into the tranches of WW1 as you follow two soldiers on their race against time to warn another battalion of an ambush. While the single shot style may sound like a gimmick, it serves to enhance the story, so well in fact that by the time you’re halfway through the film, you’ve forgotten all about it. It makes you feel like you’re right behind the soldiers, following them on their perilous journey, and it keeps you close to the horrors of being a soldier in WW1. All of this gets paired with Roger Deakin’s beautiful cinematography to create one of the best war films ever to be put onto the big screen.

You can read Levi Bond’s full review of 1917 here.

2. Parasite (Bong Joon-Ho, 2019)

There’s a reason that Parasite is near the top or at least on everyone’s top ten films of 2019 list. Simply put, it’s just that damn good. For those who haven’t yet seen this film, I’m warning, no, telling you to skip the rest of this entry. The best way to experience this film is to go in knowing absolutely nothing about it. Bong Joon Ho has created what I am willing to call a modern masterpiece. He’s made a film that has broken down a barrier and gotten people who wouldn’t normally head down to their local theater to watch a foreign language film to do so. It tells a captivating story with a social message that is well constructed and coherent (unlike another 2019 release that will remain anonymous). Everything about the film from the set design and the way that scenes are shot make this almost a perfect film that should (fingers crossed) win Best Picture.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

1. Midsommar (Ari Aster, 2019)

A24 was able to capitalize off the success of Ari Aster’s first full length film, Hereditary, and market Midsommar as the next horror film from an up and coming director. While there are disturbing images and jump scares, Midsommar isn’t a horror film. Ari Aster himself described it as both a fairy tale and a breakup film and I think that it falls into both of these categories and more. Aster has created a film that is outside the bounds of genre but still manages to tell a story about someone who has lost everything and goes on a journey to discover something she’s always been missing, something I’ve never seen before. A24 released the director’s cut of the film and just by extending a couple scenes and adding one or two more, the film is made even better than the theatrical cut. Ari Aster knocks it out of the park with his sophomore effort and I can’t wait to see his next projects. Finally, the performances in this film are outstanding. One of the biggest snubs this Oscar season is that Florence Pugh didn’t get a nomination for her role in Midsommar.

You can read Cynthia Li’s full review of Midsommar here and listen to UW Film Club’s podcast on Midsommar here.

PJ Knapke’s Top Ten Films of 2019

As I have gained more and more experience as a cinema lover over the last few years, one thing that has become abundantly clear to me is that if you think it was a bad year for movies, you probably didn’t see enough of them. 2017 was the first year I really dove deep into the world of cinema, and each ensuing year since then has resulted in more movies watched and more brilliant hidden gems that I will treasure forever discovered. The 130+ 2019 releases I had the pleasure (most of the time) watching in the past year have provided a startling amount of highs, and as a result whittling down the list to just 10 was an excruciating process by all means, resulting in numerous honorable mentions that might’ve made the list in any other year. My full list of rankings can be found here.

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Piper Coyner’s Top Ten Films of 2019

2019 seemed to be an absolutely incredible year for film, both because it was one of the first years that I felt caught up with new releases and because this year’s films were, in fact, outstanding. For me, 2019 was the year of sophomore features from some of my favorite A24 directors, as well as much anticipated films from directors at the peak of their careers. Notable films that I have still yet to see include A Hidden Life, Portrait of a Lady on Fire, and Honey Boy, all of which probably would have made it onto this list. Honorable mentions include The Souvenir, The Last Black Man in San Francisco, and Booksmart.

Continue reading “Piper Coyner’s Top Ten Films of 2019” →

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Stefan de Villiers’s Top Ten Films of 2019

A good year for movies, though I haven’t come close to seeing everything I wanted to get to. Notable exceptions to my viewing log include An Elephant Sitting Still and Portrait of a Lady on Fire. I’m also yet to see Jojo Rabbit, but don’t believe that it would’ve broken into this list. I don’t have many honorable mentions to give, but I’d encourage everyone to go see Burning Cane and Apollo 11 if they haven’t yet. Very solid films.

10. Marriage Story (Noah Baumbach, 2019)

I’ve only ever seen three Baumbach films (Frances Ha, Kicking and Screaming, and this), but none of them have really blown me away. Frances is interesting, but I also find her kind of obnoxious. The graduates are funny and fatalist, but they’re also so pathetic. Charlie and Nicole are well-developed, but everyone around them (Dern and Liotta in particular) just seem like caricatures. That’s not to say I didn’t enjoy Marriage Story. It’s my favorite Baumbach so far. I’ve probably watched the “Being Alive” scene upwards of 17 times and Adam Driver absolutely works his usual magic throughout. It’s just that I didn’t really buy into the absurdity of going through divorce that Baumbach tries to portray. Maybe I should break up with someone and then watch this again.

You can read Maddie McDougall’s full review of Marriage Story here.

9. Waves (Trey Edwards Schults, 2019)

I said in my Letterboxd review that this film is less than the sum of its parts. Moments of this film (like THAT scene and then a lot of others) blew my mind. Moments were downright frustrating, but to its credit, Shults stays creative throughout. He masterfully commands a plot structure that I’ve seen employed in other films with much less finesse. He uses a dizzying array of aspect ratios, without it ever seeming like a gimmick. And he knows exactly how to whale away at the audience’s stomachs and their hearts, without ever going too far. I’m a sucker for the music too.

You can read Rohan Patel’s rull review of Waves here.

8. The Irishman (Martin Scorsese, 2019)

This isn’t the Scorsese of Mean Streets, Goodfellas, or The Departed. This is a Scorsese who’s growing older and who lets his experience influence his art. Power, Old Scorsese says, is not eternal. Humans are ultimately human. Soon we will be gone from this Earth. Yes, it’s still a gangster flick. It still revels in the mean combination of Pacino and De Niro and Pesci and… Ray Romano? But it’s always working towards a message of frailty. The 209-minute runtime is just enough to let us get there on our time. Masterful work. Not my favorite Scorsese, but that’s just because he’s made too many damn good films. Where does he go next?

You can read Ryan Circelli’s full review of The Irishman here.

7. Parasite (Bong Joon-Ho, 2019)

There’s a lot of good things that can be said about this film; most of them have been said already. I’ve heard each of those good things said, and I’ve never disagreed with any of them. And yet, I’m still not blown away. Maybe it has something to do with colossal expectations I had (ranked #1 on Letterboxd all-time) that weren’t entirely fulfilled. Maybe it’s because the first half of the film feels more like a very competent heist movie than anything particularly special. Maybe it’s because I never connected with the characters. I liked the film and I loved its messages about class. I could clearly see The Housemaid’s influence and the theme of the ignored, but it was never my favorite.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

6. The Last Black Man in San Francisco (Joe Talbot, 2019)

What a wonderful bit of cinema. It’s achingly nostalgic, while also intensely hopeful. It’s a film on a very small stage, but the implications it has for identity, home, and belonging are massive and especially relevant right now. It’s filled with the sort of poetic exploration of a city that can only come from its close acquaintance, and its deep affections for San Francisco could make anyone want to move there. As Joe Talbot’s first feature film, it took seven years, unwavering commitment, and faithful support to finally come to the screen. We can only be grateful that it did. There’s a slight bittersweetness in the thought that Talbot may never be as devoted to a film as he was to this one. Let’s pray he dispels that notion soon.

5. Uncut Gems (Josh and Benny Safdie, 2019)

Uncut Gems is miles above Good Time, which is quite a decent movie. It’s unfathomable to me how very deserving this movie and all its players are of awards and how very little recognition they’re getting. It might be just about everything a typical young guy could want in a movie: tension, action, sports, money, gambling, shiny stuff, the underworld, celebrities, gratuitous sexuality, a funny Jewish actor with a penchant for bad comedies, and a breakneck pace. And, it’s all combined brilliantly by Safdie brothers, never feeling cheap or forced. Its sound design is incredible. Adam Sandler is incredible (which we already knew but maybe some of us forgot). That diamond encrusted Furby thing that’s also in the trailer is incredible. Very much fun.

You can read Ryan Circelli’s rull review of Uncut Gems here.

4. 1917 (Sam Mendes, 2019)

Deakins! You beautiful man! What a beautiful thing you’ve done again! It’s the sky lit up by the flame of war, the charge of the doomed soldiers, and the subtle hand required to paint it all in a “single” take. It’s the cinematography that crowns this consequential journey, but that’s not to say that the other features are lacking. 1917 plays like an epic poem, as a young hero fights enemy and affliction in a glorious quest through barren, grief-stricken land. It’s moving and it’s marvelous, but it’s also very accessible. Of every film on this list, I reckon it’s the most likely to become a classic in time, even if it’s not my favorite. What is there not to like? Would you not want to see it again?

You can read Levi Bond’s full review of 1917 here.

3. Synonyms (Navad Lapid, 2019)

The following is excerpted from my Film Club review.
“I am Yoav,” says the naked man lying in the bed, staring up at his strange saviors. “I have nothing anymore.”
…
We cannot know Yoav. We can only tell that he is unabashedly alive, or another thing like it. Call it life, or urgency, or perhaps even just naive aspiration, it remains a core theme throughout the movie. “Die or conquer the mountain!” [he] exclaims. He internalizes the fight for a free spirit, for individualism. He believes in a French ideal of bravery and initiative and walks the streets with it proudly emblazoned on his chest. He longs to assimilate into his new world.

This semi-biographical story that director Nadav Lapid tells is clearly close to the heart and imbued with emotion. It dances into existence on the screen with an energy reminiscent of the French New Wave. It begs one to think deeply about the conduct of life. It fills one with the crackling sensation of vivacity, then rends one to shreds with the monstrous teeth of despair. It is ever evolving and never constrained by plot or structure. Its characters love with insatiable passion and hate with burning fury. It quietly flirts with beautiful homoeroticism, then playfully jerks back the veil and makes no effort to hide it. And it all plays out with a soundtrack that is simultaneously nostalgic and hopeful, tragic and angelic.

You can read my full review of Synonyms here.

2. The Lighthouse (Robert Eggers, 2019)

Its mythical, magical, morbid, and just plain weird. I loved it. It’s Eggers as only Eggers can do. It’s Robert Pattinson in a very good role and Willem Dafoe in an even better one. It’s seagulls and sorcery and sea creatures and sex. It’s absolutely entrancing and perhaps a little nauseating. It’s impossible to look away. And amidst all that, it finds time for slow, bleak, meaningful cinematography à la Bela Tarr. It’s hypnotic and hilarious and hallucinatory and just a little bit terrifying. It’s something you may remember more as a dream than as an experience, but what an experience it was! I, for one, cannot be more excited for Nosferatu (2023).

You can read PJ Knapke’s full review of The Lighthouse here.

1. A Hidden Life (Terrence Malick, 2019)

There is a place in the mountains where the air is so very pure, and the grass is so perfectly green, and the clouds are beneath you so that it feels just like heaven. Where when you breathe, you breathe the very first breaths of life. The very breaths that inspired the LORD who made the ground your feet sink into. And when you are in that place, you are so filled with love for it and for its people and for the very notion of beauty that you feel you will never again know evil. A Hidden Life is about that place and about its corruption. Death in that place and that place never again; Eden unraveled. I cannot quite describe the film. I remember it not as a memory but as a pain and a terror. This was my first Terrence Malick and it absolutely tore at my soul.

You can read PJ Knapke’s full review of A Hidden Life here.

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Jesus Alfaro’s Top Ten Films of 2019

2019 was a year filled with some great and fantastic movies that people will talk about for a long time. I won’t be surprised if some of these end up in the criterion collection in the future. The beginning of 2019 started off promising and ended up with amazement, but some 2019 movies must be put in those “Top 10 of 2019” lists featuring the best of the best in film. Before getting into the Top 10 list, I have to give some honorable mentions to Dragged Across Concrete, Uncut Gems, The Irishman, The Last Black Man in San Francisco, and last but not least, Ad Astra. So without futhur ado, here’s my Top 10 movies of 2019:

10. Avengers: Endgame (Anthony and Joe Russo, 2019)

Last spring, the Russos brought us the conclusion finale of this three-hour Marvel extravaganza featuring memorable fight scenes and an ending to cry for over 3000! After the events of Infinity War, I know that I was hyped even more to watch Endgame in theaters on release day, and boy did I felt so happy about the end of the Avengers as we know it… (for now). This film had bits of action, comedy, drama, and moments that made me felt in awe just like almost every other Marvel movie I’ve seen. All I can say that hasn’t been said towards is this film is that I thank the Russo Brothers for ending the Avengers movie series in a sad but heart-warming note. RIP to Stan Lee for creating heroes such as Iron Man, Hulk, Black Widow, and much more from the Avengers series.

Read Greg Arietta’s full review of Avengers: Endgame here and listen to UW Film Club’s podcast on Avengers: Endgame here.

9. A Beautiful Day in the Neighborhood (Marielle Heller, 2019)

Beforehand, I was a bit nervous on how a memorable and incredible actor such as Tom Hanks would portray the iconic Fred Rogers. It turns out that he is excellent with the part with everything from his appearance to his acting. On top of that, this film wasn’t just a “Mr. Rogers” biography like 2018’s Won’t You Be My Neighbor. I enjoyed how this film centered around Mr. Rogers and a journalist, which is original and unique given how movies based on a true story usually turn out. This film also had creativity in the animated transition scenes between the biographical aspects. Overall, this is a film that’s good for both kids and adults that deals with themes such as family, sacrifice and more.

Read Luccas Pryor’s full review of A Beautiful Day in the Neighborhood here.

8. John Wick: Chapter 3 – Parabellum (Chad Stahelski, 2019)

John Wick is one of the most recognizable protagonists that Keanu Reeves has performed as since The Matrix franchise. Director Chad Stahelski clearly knows how to manage the fast and high-octane action pace so that each of John Wick’s kills are exciting to witness on the big screen. This cast choice, including Laurence Fishbourne, Halle Berry, and Mark Dacascos, is unique because they happen to play a roles with different intentions and are likable and effectively serve their purpose. I enjoyed how much action this film provided as well as the plot of this third installment because of the reliance on plot as opposed to cheap action.

7. High Life (Claire Dennis, 2019)

High Life was one of the films that was discussed only a little bit when it came out but gained discussion after it was released online. The film is more than just a typical isolation-space setting, but there’s just more to it once the film’s second and third acts kick it to a high gear. Patterson’s character was so subtle within each appearance and the emotion that he brings towards his character is amusing, as well as the performances of Juliette Binoche, Andre Benjamin and Mia Goth. On top of that, the film’s cinematography (as well as the visual effects) reminded me that this is a great combination of Kubrick’s 2001: A Space Odyssey, Interstellar and even A Clockwork Orange. Lastly, this film really deserves a couple of rewatches not only to understand more about the film’s story, but the effective shots that felt unique to witness.

6. The Lighthouse (Robert Eggers, 2019)

2019 became Robbert Patterson’s year, especially with what he’s demonstrated in his two A24 films. Robert Eggers’ The Lighthouse was a film that had so many “Holy crap” moments that it was disturbing to watch. Robert Patterson and Willem Dafoe’s characters are like two polar opposites that somehow must work together in order to survive without breaking character. At times, this film features a lot of funny and bloody-horrifying that leaves me in shock to how far Robert Eggers went with this film. I wouldn’t consider this film as a horror film, but more on the lines of a suspenseful drama film with so much human emotion. The visual and technical aspects of this film are amazing, especially because of how it was in black and white like the early 1900’s. I think what this film revealed was a message of how men are when there’s some sort of power struggle either by individuals or in a group atmosphere.

Read PJ Knapke’s full review of The Lighthouse here.

5. Parasite (Bong Joon-Ho, 2019)

Seeing as to how Bong Joon Ho’s Snowpiercer is one of my favorite films from this decade, Parasite might be another favorite of his. This is another film focused on class differences and wealth disparity. I particularly enjoyed the varied reactions from the Kim and Park family to torrential rain. Snowpiercer had a similar kind of narrative between the rich and the poor, but the difference between that film and Parasite is that Parasite uses its surroundings and whereas in Snowpiercer, it’s only limited to a closed section inside of a train. I particularly admire the cleverness of the Kim family in this film. There should be more films focused on the effects of capitalism and classism.

Read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

4. 1917 (Sam Mendes, 2019)

Just when 2019 couldn’t get better with movies, the war genre in film brought Sam Mendes’ 1917. This film’s one-shot takes were amazing in capturing the perspective and atmosphere of the battles that two British soldiers experienced. The cinematography was just above and beyond from a typical war film. Each scene had the right amount of dolly or tracking shots featuring the two protagonists and this film left me in awe each time the protagonists overcome anything in their way under pressure and how much sacrifice it takes for them to just deliver a single, fateful message. What I’ve enjoyed the most is in the first act of the film, there’s not a full backstory provided for the soldiers leading up towards their mission until the film decides when to provide character development to balance out the heartracing action. Sam Mendes directing another war film (the previous war film being 2005’s Jarhead) was a cap to end 2019 out with a bang.

You can read Levi Bond’s full review of 1917 here.

3. Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

“Seems this worlds got you down. You’re feelin’ bad vibrations frown.” Oh man, 1969 was a year that Rick Dalton, Cliff Booth, Sharon Tate and probably everybody else will never, ever forget. Quentin Tarantino finally gave me the opportunity to witness both Leonardo Dicarpio and Brad Pitt on the screen for the first time in almost 13 years. Once Upon a Time in Hollywood had it all, from the atmosphere of 1969 to the Quentin Tarantino effect of expecting the unexpected, especially that out-of-nowhere ending, were filled with amazing “what the heck” moments. I enjoyed how this film provided a strong first and third act as well as how the ending left me in awe and wanting for more.

You can read Jim Saunder’s full review of Once Upon a Time in Hollywood here and listen to UW Film Club’s podcast on Once Upon a Time in Hollywood here.

2. Joker (Todd Phillips, 2019)

“She always tells me to smile and put on a happy face.” Holy cow, Todd Phillips has reached the next level in directing. Sure, he’s directed The Hangover trilogy, but this film is something else. Take Robert De Niro’s character from The King of Comedy, add that with Joaquin Phoenix’s acting from You Were Never Really There and the cinematography and brutal and disturbing moments from Taxi Driver, and you get possibly one of the best DC movies that steals the show. Joaquin Phoenix didn’t just act as Arthur Fleck. He’s the true definition of a character metamorphosis from Arthur Fleck to the iconic Joker, and what an ending to capture Joker ruling the Gotham world like he’s the judge, jury and executor. The cinematography of Joker was amazing, from Joker doing his iconic stair dancing to the violence Joker inspires. Finally, a DC universe film that’s rated R, looks outstanding marvelous on 4K ultra HD, and makes a star of Joaquin Phoenix.

You can read Cynthia Li’s full review of Joker here.

1. Dragon Ball Super: Broly (Tatsuya Nagamine, 2019)

This was the first film of 2019 that was so great that I bought the Blu-ray and rewatched it fifty times. After the events of Battle of the Gods and Resurrection ‘F’, Dragon Ball Super: Broly witnesses Broly, a super-saiyan, who is under his father’s and Freeza’s presents to take down Goku and Vegeta. The battle scenes in this film aren’t just five minute sequences with no meaning, but go on for quite a bit and are enjoyable from start to finish. These battle scenes are the best in the Dragon Ball film series. They just left me in amazement and in awe because in comparison, Thanos has nothing when it comes to Broly destroying Goku and Vegeta and leaving them broken. One of the songs, Blizzard by Daichi Mirua, was so catchy that I started listening to it on repeat. If you are a Dragon Ball fan, I definitely recommend watching this film and witnessing the non-stop action and surprises that this film offers.

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Rohan Patel’s Top Ten Films of 2019

To me, 2019 was arguably one of the best years for film this decade. Coming up with the top 10 list was extremely difficult; I was a lot more in tune with the releases this year and saw more new movies than any year previously. I was constantly changing my rankings on Letterboxd either because of new films I saw or simply because some films aged worse as time went on. However, I can confidently say that the following 10 are the best of the bunch (to me, of course). Before I dive into these films, I just want to give some honorable mentions, which include: The Lighthouse, Us, Paddleton, I Lost My Body, and The Irishman. Now, let’s dive in.

10. A Hidden Life (Terrence Malick, 2019)

This film probably deserves a higher spot on this list. Having seen only Malick’s first two feature films, Badlands and Days of Heaven, I didn’t quite have an idea of his voice and I cannot comment on whether this is a “return to form” for him. However, this is probably the most overlooked film of 2019. A Hidden Life loosely tells the true story of an Austrian man during World War II who refuses to swear loyalty to Hitler. It is truly a beautiful yet haunting film that captures the power of human will in one of the most unique ways. It has some of the most beautiful shots I’ve seen this year and, more than anything, made me feel the atmosphere of the world more than any other movie of 2019.

You can read PJ Knapke’s full review of A Hidden Life here.

9. Marriage Story (Noah Baumbach, 2019)

2019 featured a lot of movies that were extremely personal to the writers behind them. Marriage Story is no exception. Written and directed by Noah Baumbach, this film, partially based on his own divorce with actress Jennifer Jason Leigh, examines a couple going through a divorce while trying to keep their family together. The film has some of my favorite editing of the year and has a brilliant script that shows the flaws and mishaps of everyday life. It just felt so real and authentic. Adam Driver gives probably my favorite of the year. The only reason this film is not higher is I didn’t quite feel the emotional punch to its fullest extent. But, I digress. This film is amazing.

You can read Maddie McDougall’s full review of Marriage Story here.

8. The Farewell (Lulu Wang, 2019)

Lulu Wang writes and directs The Farewell, which I should have watched when it was in theaters. The Farewell narrates the story of Billi as she travels to China to say goodbye to her grandmother who has, unbeknownst to her, been diagnosed with cancer. Inherently, the film has a lot of emotional potency. It’s just a shame that this film got the cold shoulder from the Oscar nominations. As a person with family tied closely to India, I completely related to the feelings which arise from the conflict between Western and Eastern ideals. I really can’t wait to see more from Awkwafina and Lulu Wang after this and I highly recommend watching this film!

You can read Cynthia Li’s full review of The Farewell here.

7. Honey Boy (Alma Har’el, 2019)

Honey Boy feels as it was created; Shia LeBeouf wrote this as part of his emotional therapy while in rehab. But this film shows the beautiful complexity behind the idea of one-sided love and pulls your soul through a cathartic experience. All the performances in the film were truly great and the writing was terrific. You feel every ounce of courage and vulnerability in the film and it’s a fantastic watch.

You can read Maddie McDougall’s full review of Honey Boy here.

6. 1917 (Sam Mendes, 2019)

1917 was originally lower on this list. While this might be recency bias, my second viewing bumped this up. On a technical level, I think this is the best film of the year. For a “one-shot movie” seems like it could be used as a gimmick (and it was in the marketing), the technique really enhanced the intensity and pacing of the film. It placed me in the eyes and perspective of Will and Blake as they went on their mission. What boosted the film on second viewing was the emotional punch 1917 gave; I felt it a lot more during the second viewing.

You can read Levi Bond’s full review of 1917 here.

5. Uncut Gems (Josh and Benny Safdie, 2019)

Uncut Gems is an anxiety attack on film. The Safdie Brothers delivered a fantastic character study about a diamond seller who suffers from a compulsive gambling addiction. However, as shown through the beginning and ending psychedelic gem sequences, the film is also about the sick, cosmic power luxury has upon people and society. This is a fast-paced movie featuring Sandler’s best performance ever. I think this is one of my favorite endings in 2019 and I couldn’t imagine the film ending any other way.

You can read Ryan Circelli’s full review of Uncut Gems here.

4. Midsommar (Ari Aster, 2019)

I love, love, love horror movies. Last year, when Ari Aster came out with Hereditary, I knew there was going to be a great new voice in this genre. With Midsommar, he proved this with a “fairy-tale breakup story” as he so elegantly describes it. After a tragic event, Dani travels with her boyfriend’s friends to a cult celebration in Sweden. At this celebration, some strange things starts to happen. The bright cinematography puts you in a trance as Aster makes us question our approach to cultures we consider “alien.” Unfortunately, Aster says he wants to move away from horror. If you’re reading this Mr. Aster, please don’t. Just don’t.

You can read Cynthia Li’s full review of Midsommar here and listen to UW Film Club’s podcast on Midsommar here.

3. Waves (Trey Edwards Schults, 2019)

Waves was my most anticipated movie of 2019. I loved Trey Edward Shults’ debut movie Krisha and liked It Comes At Night. Shults continues to dive into very personal family trauma to create a narrative about an African-American family that learns to love and forgive in the face of an unspeakable tragedy. It has the most underrated sound design of the year; the score from Trent Reznor and Atticus Ross blends into the world of the film and complements the lush cinematography from Drew Daniels. Shults is a young, up-and-coming filmmaker and if I could scream something to the world, it would be to watch his filmography.

You can read my full review of Waves here.

2. Jojo Rabbit (Taika Waititi, 2019)

Taika Waititi is a master of happy-sad cinema. I’m a sucker for happy-sad cinema. Therefore, this, of course, has to be on my top 10. I think Jojo Rabbit has some of the best performances of the year while masterfully combining satire with sadness. It had some solid laughs throughout. I loved the costume and production design in the film and am glad that the Oscars gave some love to the film. It deserves it (even if that may be a controversial statement).

You can read Ajay Rawat’s full review of Jojo Rabbit here and listen to UW Film Club’s podcast on Jojo Rabbit here.

1. Parasite (Bong Joon-Ho)

Wow. Just, wow. I’m not even joking when I say my first time watching Parasite, I left the theater with my jaw dropped open. The film defies the concept of genre, delving into comedy, thriller, horror, and even a bit of melodrama. Bong Joon-Ho is a straight-up genius as he subtly weaves motifs and symbols which criticize class inequality. The characters in the film are real and genuine in the sense that they are not “good” or “bad,” they are treated like real people with flaws that make them greedy and virtues that make their plights empathetic. I really can gush about this movie but I encourage everyone to beat that “one-inch barrier” and go see this movie.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

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Review: ‘1917’ Takes the Genre to a Whole New Level

It’s been almost a decade since a Hollywood film depicted the events of World War One, the last being Steven Spielberg’s War Horse. Not since then have we seen the bloody conflict on the big screen. Christopher Nolan’s Dunkirk is often lauded as one of the best suspense oriented war films, I can now confidently say it is now number two to 1917. Sam Mendes’ entry into the genre, 1917, may very well be the best the entire war genre has ever seen. This piece of cinema redefines what it takes to be truly excellent in a market of ever crowding blockbusters and “theme park rides,” as Martin Scorsese would say.

The cast is a who’s who of the BBC’s finest actors, with loads of short cameo roles including everyone from Colin Firth to Benedict Cumberbatch. The two leads however, Dean-Charles Chapman and George Mackay, play two corporals sent on a mission to save sixteen hundred men from walking into an impending German trap. The story feels personal and grounded, as it is based on stories Mendes’ grandfather had told him. Despite being with the characters for mere minutes, their struggles and plights hit home. Performances of quite literally every person on-screen, down to the extras, are exemplary. World War One has never felt more real outside of the actual event than as seen here. This is a testament not only to the acting ability of the whole crew but the power of the script as well, not to mention the way it was shot. Cinematographer Roger Deakins delivers a likely Oscar-winning job, showing the audience this conflict like never seen before. The way he plays with color and lighting is truly a wonder to behold and well worth a second viewing.

What held this from perfection for me in the theater did not have to do with the actual movie I was seeing, but my expectations going in, a dangerous thing in cinema today. The movie advertised itself as one long take, an unbreakable scene moving for the entire one hundred and nineteen minutes. Unfortunately, while there are clear impressive long shots, there is no illusion that this is one long take. Most moviegoers know that this feat is largely impossible, only achieved through editing tricks. However, 1917’s biggest drawback is that these hidden cuts are not hidden whatsoever. I should reiterate that this movie is beautiful and impressive in every way, but it doesn’t feel like one continuous shot. I wouldn’t have had a problem with this if the film hadn’t been so heavily marketed as otherwise.

In conclusion, 1917 is a marvelous technical achievement layered on a compelling narrative that was even able to drive some in my screening to the point of tears. This is an unparalleled spectacle like no other that will deliver you a satisfying theater-going experience at the very least. While this may be an awards movie, it is not just an awards movie, it deserves to be seen by as many people as possible. Please do yourself a favor and go see this movie.

4.5/5 STARS