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” →

Stephanie Chuang’s Top Ten Films of 2019

What a year! 2019 was the first year where I actively sought out new releases to watch. While I still didn’t get to everything on my watchlist, (namely Ad Astra, A Portrait of a Lady on Fire, Hustlers, The Lighthouse, and A Hidden Life) I still got to join in on the fun and see several critically acclaimed films. Personally, I thought this year was a great year for female directors. Though many got snubbed for Oscar nominations (namely Greta Gerwig), I feel like there were more female-directed films than I had seen in previous years. Though only 3 of my top ten films are female directed, I hope that number grows and those ladies get the recognition they deserve. Honorable mentions include: A Beautiful Day in the Neighborhood, Toy Story 4, and 1917.

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Maddie McDougall’s Top Ten Films of 2019

2019 was perhaps the first year where I was very cognizant of recent releases and the films that were most likely going to be up for the big awards; The Oscars, the Globes, etc. I have always been a huge proprietor of watching these award shows every year, but now I have actually seen enough of them to feel as if I can truly understand the struggles that go into narrowing down such competitive categories. 2019 proved to be a fantastic year for me to begin my journey into the world of film as it was filled to the brim with top of the line films and performances to populate the lineup for the 2020 award season. My full list of 2019 films ranked can be found here. Without further ado, in honor of the upcoming 92nd Academy Awards ceremony, here is my list of the top 10 films of 2019. Enjoy.

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Joe Lollo’s Top Ten Films of 2019

2019 was, without a doubt, an awesome year for film, and one of the best ways to close out a decade. There were a lot of great ones that came out this year, and the challenge of narrowing my top 20-something down to 10 was a big one. I’ve seen so many good things this year, and it was extremely difficult to choose just 10 films that I loved.

My method for this list was simple – go on my Letterboxd ranked list – take out all the memes that graced the top (sorry, Full Force, Loqueesha, and Sextuplets – you’ll get the recognition you deserve sometime soon), and then think of which of these I would definitely suggest to people. That’s the mindset I had when writing this list.

Before I get started, I have a few honorable mentions. These movies are all amazing, yet they didn’t really make the cut: Joker, The Farewell, Avengers: Endgame, Little Women, Her Smell, Portrait of a Lady on Fire, and Uncut Gems. All of those movies are awesome, yet as it stands, here are my 10 favorite movies of the year. Let’s get started!

10. Honey Boy (Alma Har’el, 2019)

Alma Har’el’s narrative directorial debut is not for the faint of heart, due to its hard R rating and outrageous nature. However, it is loud, emotional, and honest, which is something to admire in its own sense. Shia LaBeouf’s semi-biographical script and top-tier writing alone are admirable enough, thanks to his openness and vulnerability, but everything else featured in the film just seems to lift it up into more greatness. It left me in pieces, more than any other film I’ve seen has. Yet it managed to break my spirit in such an uplifting and creative way. Shia LaBeouf, Lucas Hedges, and Noah Jupe all give amazing performances that not only feel realistic but also hit me way too hard. I realized that I, at least once, have felt like all of them. I’ve struggled with finding my identity during most of my life, I’ve been depressed, I had thoughts of self-harm that I never acted on, and I’ve gone to therapy session after therapy session to try to make it better. Yet it’s these qualities that really make us genuine human beings, something that this film really captures the essence of in its runtime. With the emotional scars that Honey Boy left in me, I now think of Shia LaBeouf as so much more than the “Just Do It!” guy.

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

9. Long Shot (Jonathan Levine, 2019)

Replacing that downer with a much more positive film, Long Shot is one of the best feel-good films of the year. I can’t remember a time in this movie when I wasn’t genuinely and consistently laughing. Everything – the dialogue, the humor, the political satire, is hilarious and adds up to being a great comedy film. What motivated me to put it on this list is that, despite all that, it’s so much more than the simple “dorky guy gets hot girl way out of his league” comedy that it seems to be at first. It gets up close and personal with concepts of political ethics, identity formation, and media bias, all with the framework of our contemporary political climate. The cast is terrific in their performances, the soundtrack is solid, and the romance between Seth Rogen and Charlize Theron is believable, unlike most rom-coms. Funny and full of heart, it’s definitely the kind of movie to watch if you just want to have a good time.

8. Rocketman (Dexter Fletcher, 2019)

Being a(n amateur) musician myself, I’m always one for music biopics. Love and Mercy, the Beach Boys biopic, is one of my favorite movies of all time, and I genuinely enjoyed Bohemian Rhapsody more than a lot of people. Rocketman, however, holds up more to the former than the latter. It manages to combine the typical sense of a biopic with fantasy dreamscape sequences and big song and dance numbers that make me feel like I’m watching Mamma Mia and make me appreciate Elton John’s music much more than I have before. As a queer person, I am also proud of how the movie made history as the FIRST big studio movie to have a LGBT sex scene, between its two lead actors. Speaking of them, Taron Egerton’s overall performance as Elton John is amazing, because he really embraces Elton’s unique energy and voice, and Jamie Bell has a great co-lead performance as his songwriting companion Bernie Taupin. Overall, this movie is a great capture of Elton John’s high and low pints in life, filled with great music and great moments.

7. Knives Out (Rian Johnson, 2019)

I’ve always wondered what Rian Johnson was gonna put out next after The Last Jedi, his 2017 entry to the Star Wars franchise. What’s for sure is that I also didn’t expect something as great as this. Knives Out is truly special, because it plays on the “whodunit” trope without being too predictable. The story is compelling, characters are well-written, and the ensemble cast is amazing – especially Ana De Armas, Daniel Craig, and Michael Shannon – and the whole movie just clicks, which is pretty rare. What I really liked about this film, however, was the story. It is wonderfully detailed, filled with twists that always kept me guessing and on the edge of my seat, and is peppered with some of the best writing and cinematography as well. It’s immensely more enjoyable than it initially seems to be, and something I will definitely try to watch again soon.

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

6. The Lighthouse (Robert Eggers, 2019)

While A24 is certainly a mixed bag when it comes to film quality, The Lighthouse is certainly something special. It’s clear to me that everyone working on this film put in so much passion and effort into their craft that it’s all overwhelmingly good. It’s enjoyable in a different way than a lot of these movies on this list are, because it is simply so specific and so beautiful in the way it looks that it really lives a sort of impression on you. It’s philosophical, Lovecraftian, and just a joy to watch. With awards season being in full steam at the moment, I believe Willem Dafoe and Robert Pattinson are both extremely deserving of any award they can find. As soon as The Lighthouse’s credits rolled and I was getting up from my seat, I thought to myself “this is going to become an instant classic.” And by the looks of it, I seem to be right.

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

5. Midsommar (Ari Aster, 2019)

Ari Aster did it again in 2019, by creating another visually appealing horror film that really captures feelings of self-inflicted terror. While Hereditary, Aster’s previous film, elicits scares from the creeping darkness like most horror films, Midsommar is unique because of the way it brings scares into common, perpetual daylight, where gore constantly begs to be exposed. It surpasses its predecessor in this way, by being such a unique interpretation of Swedish pagan practices yet making it so that you don’t need to have any knowledge to follow along. I think the best part of the film comes from its psychedelic and colorful visuals, because of how Aster is breaking the mainstream horror theme by using bright and gaudy colors. Another thing of note that pleasantly surprised me were the performances, particularly those of Florence Pugh, Will Poulter, and William Jackson Harper. I can see this film as their breakout performances, and the 2020s giving them even better roles. Midsommar is not for the faint of heart, but it certainly doesn’t disappoint.

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

4. Jojo Rabbit (Taika Waititi, 2019)

Seeing how Taika Waititi is one of my favorite directors of all time, it seemed obvious that I was going to enjoy Jojo Rabbit. And I did. In fact, I enjoyed it even more than I thought I was going to. I loved this movie and everything about it, in fact. The set design, music, and editing are fantastic work, the story is a nuanced and detailed emotional roller coaster, and the ensemble cast is again great. Taika Waititi’s Hitler, however, is the real star. There are moments where you can tell that Waititi put a lot of research into his role. He looks and sounds just like Hitler, yet he’s goofy and charismatic like The Office’s Michael Scott – basically playing the best example of a “good Hitler” from a child’s imagination. Another thing of note is the tone shirt from comedic to dramatic within the halfway point – while you can clearly see it coming, it doesn’t feel out of place and actually seems to work with the film’s advantage. And just like Honey Boy, the end message of living life to the fullest and showing that we love life is one of the best messages in any movie.

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

3. Booksmart (Olivia Wilde, 2019)

Olivia Wilde’s directorial debut was, until I saw the top two films, my #1 on this list. It’s very rare when a director makes their mark so strongly in their debut film, but Wilde definitely did so. It’s the kind of film that really stays with you even after it’s over, and it’s made so masterfully that you can’t not appreciate it even a little bit. The film is devoted to flaunting excellent writing and editing, yet the comedy is also so tight that it sticks to the story while still guaranteeing laughs. On a personal level, it’s extremely relatable to me as it’s a snapshot of modern youth culture, effortlessly capturing the trends and passions of today’s teenagers, yet it’s extremely original and emotional in the way it does so. Much like 2018’s Eighth Grade, it may be agonizing to watch because of how it reminds you of the good old days, but it’s definitely worth the watch.

You can read Megan Bernovich’s full review of Booksmart here and listen to UW Film Club’s podcast on Booksmart here.

2. Parasite (Bong Joon-Ho, 2019)

When I reviewed this movie on the site, I felt like I didn’t do it enough justice, because while I knew it was great, I didn’t really appreciate it until I was able to think more about it. I now believe that Bong Joon-ho is a genius, especially when he’s working with a movie like this. The characters, the story, and the metaphors are so simple to follow, yet so well-done and complex in how they operate together. Bong knows exactly what he wants to say and how he wants to say it, and it’s truly an inter-genre film in the way it combines aspects from thrillers and dark comedies. It’s equal amounts funny as it is endearing as it is socially conscious, and all of that is necessary for the things it is trying to achieve. It’s definitely an improvement from Okja.

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

1. Marriage Story (Noah Baumbach, 2019)

Without any hyperbole, exaggeration, overstatement, or any other similar words, I have to say that Marriage Story is my favorite movie of the year. I’d say it’s a near perfect movie – everything really clicks together, yet everything is also amazing individually. Starring Adam Driver and Scarlett Johansson, this is one of the best examples of movies going out of their way to creatively tell a unique story while still looking beautiful anyway. Noah Baumbach is extremely creative, and this movie feels really immersive due to his knack for making films fast-paced and witty, yet also extremely realistic. I specifically associate with Adam Driver’s Charlie because I cried way too many times in this movie. It was extremely hard to watch at times, yet I still loved it either way. Honestly, though, Marriage Story seems to be a way to remind me of why I love movies so much in the first place – they can be so immersive and fantastic, yet at the same time so realistic and human in the way they tell stories and instill important values into you. Even if I knew it was amazing as soon as I watched it, I actually believe it’s one of the best movies of this decade. We waited so long, went through so many ups and downs, and lived through so many awful cliché movies, just to get something good and original at the end of the decade. And that movie is Marriage Story.

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

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Madelyn Land’s Top Ten Films of 2019

Where the first half of 2019 was dominated by blockbusters, the second half of 2019 showcased deep, complex, intriguing filmmaking. With so much more attention being paid to women and people of color directing films, we’re seeing an expanding perspective on the world. Additionally, some of the best films of this year were international films, from established auteurs like Bong Joon-ho and Céline Sciamma to newcomers like Mati Diop. Some honorable mentions include Anima and I am Easy to Find, two short films that complemented their respective musician’s albums beautifully. On top of that, I said goodbye to a franchise that defined my childhood with Toy Story 4. While you can check out my full 2019 ranked list on my Letterboxd, here are my top ten films of 2019.

10. Honey Boy (Alma Har’el, 2019)

Honey Boy is an emotional, delicate, and impressive film about Shia LaBeouf’s childhood, a film with incredibly real performances from Noah Jupe and Shia LeBeouf. There are moments where I thought I was watching LeBeouf himself from Lucas Hedges’ performance. An incredible score, incredibly imaginative moments of cinematography, and strong direction from Alma Har’el. You can feel LeBeouf’s pain in his screenplay, and it’s impressive how this effort comes off ego-free. This film works so well, from our first introduction to Otis (Lucas Hedges) literally being pushed and pulled around by stunts on a movie set, to Otis’ (Noah Jupe) charm as a young actor. It’s so clear by the end of the film that Otis’ father didn’t only give him pain, but allowed Otis to accept himself.

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

9. The Irishman (Martin Scorsese, 2019)

Martin Scorsese made headlines this year for his critique of the Marvel series, a series which “does not constitute real filmmaking” according to the famed director. It’s disappointing that this is why Scorsese made so many headlines in 2019, and not for his incredible work with The Irishman, a fun and extremely sad film that feels like a conclusion to so much of the previous work in the Scorsese canon. It builds and builds by expanding complex character interactions to the point where the film itself almost feels out of breath by the end. It’s an extremely sad movie, one about aging and legacy, but a fantastic end to an incredible director’s career. However, I hope it isn’t the end, as Martin Scorsese just has too much genius to share. If you can sit for 3 hours to watch Avengers: Endgame, you can watch 3 ½ hours of a director cementing his legacy of a 30+ year career.

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

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

If you’re going to take anything from this list, please take this: watch the first five minutes of The Last Black Man in San Francisco. It feels cinematic without feeling cheesy or gimmicky; it’s truly expansive filmmaking. The Last Black Man in San Francisco is a story of mourning and hope; it is a film that feels real. It’s so important that the actor who portrays this film’s protagonist, Jimmie Fails of the same namesake, co-wrote this script. This is really Fails’ story, a story that is as powerful as the films’ main theme: “San Francisco (Be Sure to Wear Flowers in Your Hair).” The colors sing in this film, the score supports the story, and the characters are full of energy and life. This story is a love letter and an intervention to San Francisco itself. As Fails says: “You don’t get to hate San Francisco. You don’t get to hate it unless you love it.”

7. Us (Jordan Peele, 2019)

One of the strongest genres of the past few years has to be horror. It’s a completely overlooked genre, one that is ignored by the glitz and glamour of awards season. Despite Us’ thematic maturity, emotional resonance, and effective cinematography, it will most likely be ignored come awards season. Lupita Nyong’o stuns as Red/Adelaide and proves why she is one of our generations’ greatest acting gifts. Jordan Peele’s stories are complex and relevant, and Us lives up to his masterpiece Get Out. Us keeps you thinking after it ends, and that is a sign of great filmmaking.

You can read Jim Saunders’ full review of Us here.

6. Marriage Story (Noah Baumbach, 2019)

This is a balanced film evenly divided between the two perspectives. Noah Baumbach is really at his prime with this film, as it feels so real. It’s no surprise that this comes from his own experience. Marriage Story starts strong and ends strong. Powerhouse performances dominate this film. A particular fighting scene between Nicole (Scarlett Johansson) and Charlie (Adam Driver) has really been the most talked about scene in this film. Adam Driver’s performance is so strong because of how real it feels, not how loud he can dramatically yell or punch a wall. Adam Driver feels like a dad out of his element just trying to protect his relationship with his kid, which is why it’s one of the best performances of the year. All of the films I’ve mentioned in this list have very strong scores, but this film has one of the best of the year. Randy Newman knows how to craft a score that makes the audience feel this sense of love.

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

5. Jojo Rabbit (Taika Waititi, 2019)

This is a film I had been waiting for about two years, from the director, Taika Waititi, who I love. Taika Waititi is known for mixing tragedy and comedy in an expert fashion, a thread one can see from his earliest work Boy. This film is Waititi at his best, someone who truly knows how to tell an entertaining story. The twist hits you emotionally, as Waititi slowly crafts an engaging story. Jojo Rabbit is an extremely relevant perspective in our current world, a child’s, and is now one of the best films about World War II.

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

4. Booksmart (Olivia Wilde, 2019)

A truly funny film, this relatable story felt like it was made for me. Being a more recent high school graduate, those feelings of senior year are still fresh in my mind. Feeling like I was intensely obsessed with studying, and that I pushed myself while missing out on the more fun parts of life, this film is the definition of relatable, which is a compliment to Olivia Wilde, the director. This is a fantastic subject to parody as a comedy. All the jokes landed, the characters were memorable, and the soundtrack was fantastic. Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) make this movie shine, and their intense love for each other will make you cry.

You can read Megan Bernovich’s full review of Booksmart here and listen to UW Film Club’s podcast on Booksmart here.

3. Rocketman (Dexter Fletcher, 2019)

This is my favorite film of the year. Personally, 2019 for me was the year of Rocketman. I saw this film in theaters four times, and met the lead, Taron Egerton, at a convention. While it would not be honest to place this as my number one just out of pure emotional resonance, I think how films make us feel are still an incredibly important part of filmmaking and critical analysis. I think it’s often overlooked as it’s not seen as an objective mode of analysis, but what’s the point of art if not to make us feel something? I felt something watching this film. A sense of joy from the music, bright colors, and sparkle in Elton’s eye as he learns to accept himself. This is miles better than another recent biopic about a 70’s rockstar, Bohemian Rhapsody. Specifically, for the care it takes in showing Elton’s sexuality, and the struggles he endured because of it. This film deserves more praise than it’s gotten, stuck in the dust after an early year May release. It’s a wonderfully musical, fantastically performed, impeccably styled, and a thoroughly emotional piece of filmmaking. And yes, I cried while watching this in the theater– twice.

2. Little Women (Greta Gerwig, 2019)

I am personally very biased when it comes to Greta Gerwig’s work. Lady Bird is my favorite movie, Little Women (1994) is very nostalgic for me, and both of the mentioned films remind me of my mother. But, despite my bias, no one can deny that no other filmmaker is creating like Greta Gerwig. Greta Gerwig’s work can only be described as warm and comforting. Gerwig is a complex storyteller and has a beautiful way of presenting images, but something magical happens when she gets behind a camera and tells this story of four sisters who love each other more than anything. You don’t need me to tell you that the performances are amazing, but Saoirse Ronan as Jo and Florence Pugh as Amy are stand-outs. Everyone is perfectly casted. This remake is justified in Gerwig’s reinterpretation of Louisa May Alcott’s plot and honors the original storytelling in such a caring way. Greta Gerwig corrects a past injustice in this film, and she does it beautifully.

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

1. Parasite (Bong Joon-Ho, 2019)

An international sensation from the already acclaimed director Bong Joon-ho, Parasite was the best film of 2019. Not only was it the best film of 2019, but this film also described the state of the world in 2019, and arguably the 2010s, through a class satire articulating the anxieties many of us feel. A haunting score, a delicately crafted plot, and incredible performances (specifically from Kang-Ho Song), this film legendary. Bong Joon-ho jokingly described the Oscars as a local film festival, and if Parasite is not at least acknowledged come awards season, his tongue in cheek comment will be even more validated. No one is capturing our present moment like Bong Joon-ho, and Parasite is his best film yet.

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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UW Film Club Podcast #36 – Booksmart

“We missed out. We didn’t listen to podcasts because we wanted to focus on school and get into good colleges.”

For weeks, we’ve been wanting to talk about Olivia Wilde’s Booksmart and we finally did it! On this super stacked episode featuring Piper Coyner, Joel Garcia, and Stephanie Chuang, we discuss how Booksmart has seemingly achieved instant classic status, the iconography of its characters and scenarios, and the deeper emotional meaning underneath its raunchy teen-comedy surface. Get consensually bashed on the 36th episode of the UW Film Club Podcast!

On this week’s episode: Piper Coyner, Joel Garcia, Stephanie Chuang, Cynthia Li, and Greg Arietta.

You can find us on Facebook at /UWFilmClub, and on Twitter and Instagram @FilmClubUW. Make sure to rate, comment, and subscribe to our podcast on Apple Podcasts, Soundcloud, Spotify, and Google Play, and tune in every Monday for a new episode of the UW Film Club Podcast!

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SXSW 2019 Capsule Reviews

Over the last week we saw dozens of films at the South by South West Film Festival in Austin, Texas. There were highs and lows, but each one an experience onto itself. Over the next couple days we’ll be updating this article with capsule reviews and links to full reviews of films from the festival. Check back regularly to see whats new!

This SXSW coverage was done as a joint effort with Cinema As We Know It.

Booksmart

“Easily the strongest feature to come out SXSW is Olivia Wilde’s comedic directorial debut Booksmart. Kaitlyn Dever (Beautiful Boy, Short Term 12) and Beanie Feldstein (Lady Bird) star as Amy and Molly, two brilliant high schoolers on the cusp of graduation, dutifully prepared to chase their grand dreams of leadership and social change in college. All their focus and energy on school has earned them admissions to Ivy League Schools, but it isn’t until the eleventh hour they realize there may have been more to their teenage years than a grade point average. In a last ditch effort to redeem themselves, they plan to attend a wild high school party on their last night before donning their caps and gowns.

Booksmart operates as a coming of age story, which seems to be a running theme the past couple years with young directors on the rise. While on the heels of the excellence of Lady Bird and Eighth Grade, Booksmart’s wholehearted brilliance stands up there with the rest of them. Olivia Wilde’s fresh directorial influence comes with a willingness to break conventional rules and take risks that others more entrenched such a may not. Her style is clearly full of enthusiasm and love for the craft, and her perspective as an actor works as a catalyst for some inspired performances. The entire film is an embarrassment of riches with endless re-watch value. It will without doubt secure a place in audiences’ hearts as an instant classic. Much like Molly and Amy, Booksmart has earned its A+.”

-Megan Bernovich

Full Review Here

Adopt a Highway

“When you saw Marshall-Green as a robot cyborg kicking ass last year, I bet you didn’t think he had directing chops. And good ones at that. With the right balance of heart and empathy, he strikes a winning formula for a story about redemption in the face of extraneous circumstances. Adopt a Highway shows that despite all the things that can go wrong in our life and how dire it can get, with a little hope, humanity, and compassion, we can all get a second chance at life.”

-Greg Arietta

Full Review Here

The Peanut Butter Falcon

“Zak’s down syndrome is often brought up as a rationale to restrict him, but what PBF rightfully asserts is that it shouldn’t matter. He is not seen in the same light as others because of what others project onto him, and not what Zak knows true about himself. Elenor’s character is perhaps representative of the audience and the realization that comes from the film’s message. To see someone with a disability is to automatically assume inability, but what comes to fruition is that their hopes and dreams shouldn’t be shelved because of labels.”

-Greg Arietta

Full Review Here

Pet Sematary

“In examining what has been gained from this updated retelling, there is no avoiding the sacrifices as well. One major infraction is its explanation of the narrative world. Pieces of essential exposition have been cut, leaving holes that would confuse anyone not well familiarized with the 1889 film or original novel. It’s far too easy to miss the connection that the pet cemetery exists because of the semi-trucks, which is critical information to grounding the environment. This film also slacks on justification for the indigenous burial ground, which in other versions is identified as MicMac. Pet Sematary and Stephen King have always had an issue with appropriating and mythicizing Native American lore with the Wendigo, but in this instance it is especially generalized and simplified for easy use. The film entirely drops Jud’s story of the last time a mourning parent resurrected their child, leading to chaos and fatalities in the town. Beyond all of that, the character of Pascow is relegated to the background rather than the driving conscience of the story. His personality has been replaced by some ominous lines, hardly given a second thought. By rushing through proper explanations and disregarding the main moral compass of the film, it leaves the events feeling baseless and shallow.”

-Megan Bernovich

Full Review Here

For Sama

“The film is narrated by al-Kateab as she looks back at her time in Syria and addresses her daughter, Sama. From the day the revolution breaks to the day she flees the country, al-Kateab traces the important moments in her life that happened in the middle of the war, and what that means for the future of the country.

Through violence, injury, and death, al-Kateab and Watts paint a bloody picture of the Syrian Civil War, but they ground it with the people who experience the conflict. To see a city full of life devolve into complete ruin is unworldly, yet al-Kateab speaks about her country with such tender affection that you come to understand why a family would stay—even with young children. Self-sacrifice and revolution are married as revolutionaries like al-Kateab and her husband put everything on the line and stay in Syria with the hope that their children will not have to live under Bashir al-Assad. But as the war rages on, the film transitions into the possibility that the children themselves will have to bring about change, a somber and sympathetic message for a country whose fate is uncertain.”

-Greg Arietta

Full Review Here

Tales from the Lodge

Part of SXSW’s Midnighters programming, the film features a misfit college friend group, now grown up, with unsettled interpersonal relationships. As they awkwardly reunite to spread the ashes of their deceased comrade, this purpose is complicated by the fact that they are perhaps being hunted by a homicidal maniac. Tales from the Lodge is a portmanteau film, featuring a main plotline interspersed with scary tall tales as told by the characters. Each anecdote is directed by the actor telling it, with significant variation in tone and quality. The inconsistency is furthered by a central narrative that substitutes “gotcha!” moments for actual twists. Much of the character’s humor and dialog doesn’t quite come across for a non-British audience. One positive aspect is a solid cast of unconventional figures for a horror film.  For its small scope and budget, it’s a passable late-night watch.

-Megan Bernovich

Body at Brighton Rock

The film begins with strong potential to be a survival thriller about a young woman learning self-reliance and courage in a hostile wilderness. The discovery of a dead body is an intriguing hook, but execution grows weaker from there. The plot is somewhat disorganized and fails to explain some of its central plot devices, while saving others for reveals that come too late. While the heroine does fight for her life, there is never a revelatory moment of triumph, but rather a flimsy open-ended conclusion. The film’s visuals have integrity, with striking vistas and vibrant colors that make the watch worthwhile. The lesson to be learned here is that you can either make a good natural survival film or supernatural film, but from what I saw, not both at once.

-Megan Bernovich

The Gift: The Journey of Johnny Cash

This documentary takes a look at the internal life of the legendary Johnny Cash, whose unmistakable voice and vast career redefined American folk, country, and gospel music. The film utilizes Cash’s autobiographic tape recordings to emphasize the power of hearing the “gift” of his voice, along with audio testimonies of fellow artists and his children. This oral storytelling is paired with an abundance of still and video footage spanning his entire life, providing a full and intimate arc.  The Gift also candidly examines fame changed his career, as well as his long struggle with drug addiction. The film uses his live performance at Folsom Prison as an extended metaphor for his folk hero status, but also for his tortured inner life. Overall, the film is a wonderful chance to get to know the man behind the music.

-Megan Bernovich

Building the American Dream

Chelsea Hernandez’s documentary is a culmination of years of work assembled into a powerful and personal experience. Building the American Dream follows undocumented individuals in Texas fighting for basic rights in their working conditions. It’s a sobering look at how urban development exploits laborers who have no protections physically or legally, and at how many have lost their lives trying to make a living. Hernandez’s camera is noninvasive but rather a symbol of solidarity and compassion, the action of filming a commitment to representing those ignored by corporations. It also casts a damning light on the people and structures in power that allow wage theft and unsafe conditions to continue. Ultimately, the film underscores the power of solidarity in the face of oppression, and the continued fight for human rights.

-Megan Bernovich

The Beach Bum

“You may be thinking at this point, “This sounds like a fun ass time.” And to that I would say, “Yah, if you’re into Harmony Korine.” Like I said, this film is one giant joke for an hour and half, and by the hour mark it really grades on you. Or at least me. I’m indifferent to Korine; I admire his audacity in some moments and other times times I can’t believe someone thought this was a good creative decision, but that’s kinda what makes his films his films. Those who have seen his prior work and enjoyed it will surely feel the same about The Beach Bum, but at the same time, I don’t think this will do anything to change the minds of those who already have baggage with Korine.”

-Greg Arietta

Full Review Here

Yes, God, Yes

“What Yes, God, Yes does so well is talk openly about female sexuality in the context of a Catholic upbringing. In this repressive environment, Alice is led to believe a number of misconceptions about sex and its peripheries that results in conflicting emotions. In her ‘sex ed’ classes, she is taught to believe that sex is only supposed to occur between a married man and woman, and that anything outside of that, including pleasuring oneself, is a sin. This leads Alice to repress herself again and again until she learns that she will not in fact go to hell for masturbating.

Alice’s conflict regarding her sexual urges reinforces society’s inadequacy in addressing such issues, and Maine tackles it on multiple fronts. One instance may find Alice ridiculed for sexual behaviors she never did while the alleged male recipient gains social currency. Another finds Alice holding back her desires for a camp counselor in fear that she may be viewed as unvirtuous. And as pitched in the synopsis, Alice learning about masturbation in a society that doesn’t even acknowledge it. The scenarios ask the audience to reconsider the ways in which society treats these issues about female sexuality, particularly under religious institutions.”

-Greg Arietta

Full Review Here

The Art of Self Defense

“The film centers on Casey (Jesse Eisenberg) who is your average, awkward, white collar accountant. One evening on his way back from the store, he is the victim of a brutal mugging that leaves him shaken and traumatized. Determined to muscle up and prevent a future attack, his search for self defense leads him to a karate dojo. There he quickly ascends rank and becomes a star pupil of Sensei (Alessandro Nivola), but what he soon learns is there is more to the dojo and his training than he first thought.

The film thrives at dry-pan, dark humor. The script is tack sharp when laughing at things that come off as bizarre, strange, or absurd, but presented as totally normal in the narrative. This sense of humor gives the film an edge to cut deep into the hyper-masculine practices in our own society that we have adopted and normalized. Ditching your plans to learn French because the nation is perceived as weak, or refusing to pet your dog as to not show weakness through compassion are just two of the several dozen sharp witted and exaggerated jokes that Stearns writes into the script to build his hyper-masculine world of the dojo. What are initially pitched as methods of improving your karate abilities are underscored with just the right amount of out-there, rational thinking that makes it funny to laugh at until, eventually, it isn’t anymore, and we realize, ‘Oh … this has taken a dark turn.’”

-Greg Arietta

Full Review Here

Villains

“Directed by Robert Olsen and Dan Berk, Villains caught audiences by total surprise in the best way possible. Simply put, it’s the story of a Bonnie and Clyde pair who are caught in the clutches of a far more dangerous couple with a house full of deadly secrets. Villains gracefully introduces its main characters, Mickey (Bill Skarsgård) and Jules (Maika Monroe), under the context of their motivations and desires within the first two shots of the film. It’s a proficient approach that wastes no time endearing our anti-heroes to the audience. Although they behave as outlaws, their youthful affection for each other keeps us rooting for them at every turn. After bungling a robbery, their dreams of escaping to the sunny and carefree beaches of Florida are put on hold when they encounter George (Jeffrey Donovan) and Gloria (Kyra Sedgewick) during a supply run break-in. Having stumbled upon a horrible secret, it becomes a question of whether or not they can escape with their lives at all as they are ensnared by the sinister couple.

It’s not unusual for many films like Villains making their way to the festival circuit to boast a stacked cast. It’s far rarer to find a film that utilizes their talent so very effectively. Maika Monroe has found a role with plenty of room to explore personality, allowing her to be as feisty as she is heartfelt with Jules’ liveliness complimented by a deeper emotional side. Her past tragedy is subtly woven into the plot without coming to define her character. It’s clear Monroe is amply capable of embodying multidimensional leads and in this role in particular she shines. Bill Skarsgård is her equal match, a chameleon of a man able to inhabit perfectly the sweet, slightly goofy personality of Mickey. He has something of a young Leo Dicaprio heartthrob look going on, with greased hair and bright eyes. Monroe and Skarsgård share an unexpectedly delightful chemistry, playing off each other constantly. Their relationship is the light soul of this dark comedy, both with a high aptitude for quick banter and physical humor. Their bumbling antics and drug habit somehow enhance the charm of these two lovers on the lam.”

-Megan Bernovich

Full Review Here

Good Boys 

“Bear with me for a few moments as I try to explain this stilted plot. The film tracks three kids Max, Thor, and Lucas (Jacob Tremblay, Brady Noon, and Keith L. Wiliams respectively) gallivanting around town trying to recover a drone they took from Max’s dad (Will Forte), a drone they stole so they can spy on teenagers and learn how to kiss for a middle school party. The drone crashes and sets them on a looney adventure based on anything the writers thought was remotely funny on paper. You probably read that synopsis and thought it was overtly trivial and you would be right. It’s such a bad premise that it barely, barely, functions as nothing more than a skeleton for the antics written in. 

By sheer circumstance, this coming-of-age tale is made even worse by the fact that I had just finished my second screening of Booksmart. Imagine seeing one of the greatest teen comedies of all time that is destined to become an all time classic, and then immediately seeing a raunchy, child-based comedy that has a near one to one thematic core, but executed to a much worse degree. Clearly, this isn’t a fault on Good Boys, but it makes all its shortcomings more blatantly obvious, especially when the film you are inspired by, Superbad, is evoked better by a fellow festival film. To put it simply, it got outplayed in every way.”

-Greg Arietta

Full Review Here

 

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SXSW Review: The Heartfelt Comedy of ‘Booksmart’ Manifests an Instant Classic

This review was originally published on Cinema As We Know It as part of a  joint effort in South by South West coverage.

Easily the strongest feature to come out SXSW is Olivia Wilde’s comedic directorial debut Booksmart. Kaitlyn Dever (Beautiful Boy, Short Term 12) and Beanie Feldstein (Lady Bird) star as Amy and Molly, two brilliant high schoolers on the cusp of graduation, dutifully prepared to chase their grand dreams of leadership and social change in college. All their focus and energy on school has earned them admissions to Ivy League Schools, but it isn’t until the eleventh hour they realize there may have been more to their teenage years than a grade point average. In a last ditch effort to redeem themselves, they plan to attend a wild high school party on their last night before donning their caps and gowns.

Olivia Wilde’s team of all female writers, Emily Halpern, Sarah Haskins, Susanna Fogel, and Katie Silberman, devote the entire film to flaunting their razor-sharp script. Their intelligent and purposeful comedy never strays from the story at hand to get to a punchline. The film breezes from one hilarious scenario to the next as each hitch in the girl’s plan forces them to reroute, but managing to never stall out or disrupt the narrative. Molly and Amy bring a refreshing flavor of feminism to a storyline reminiscent of Superbad. Jokes about Ken Burns documentaries and Ruth Bader Ginsberg demonstrates how specific Wilde is able to be with their personalities, while also evoking laughs. Their friendship is the comedic and emotional centerpiece of the film, and their adoration for each other is sincere. Thanks to Wilde’s commitment to a unique female-centered narrative, Booksmart is well rounded with both a dazzling sense of humor and emotional depths.

The film is as contemporary as it gets, taking as succinct a snapshot of modern youth as last year’s Eighth Grade. It effortlessly captures the culture of social media and taps into the climate of feminism that is permeating this younger generation. Amy and Molly are politically involved, practitioners of radical self-love, and outspokenly ambitious, embodying a new generation of activists dissatisfied with their environment and brimming with optimism. But as they are also teens, the film stays true to the inherent melodrama that comes with high school crushes and gossip. Their awkward romances and clumsy confrontations is as honest as it is compelling. Booksmart explores the surreality of being 18 years old and standing on a precipice. It’s looking out over a wide unknown world ahead of you while looking back at the path you’ve taken and asking, who are you trying to be? Will end up where you want? Have you done everything you could?

On a personal level, Amy and Molly are exceptionally relatable. As the same kind of honor student who obsessed over grades and was more eager to chat with teachers than other students, they felt all too familiar. Their vast academic career and motto of “take no prisoners” is where they draw their confidence, but it’s also a shield from their colleagues. Their dependence on each other stems from their own personal isolation and social difference from their fellow students. They believe they are somehow a different, perhaps superior, species separated from the theater kids, jocks or the skaters. Having been rarely invited along to any extracurricular events and never partaking, it was an emotional experience to live vicariously through their wild night of exploring the social strata. While Molly and Amy know that their peers are strangers to them, there’s still a great deal they have to learn about their own relationship. The two best friends are unprepared for the realization that they aren’t growing in the same direction anymore, and while on their quest for the ultimate party, the fear that they may not factor into each other’s aspirations as much they thought rises. With graduation around the corner, their devotion is suddenly strained, and time and again, Wilde handles this tension with a sincerely human compassion. Though these themes remain playful and light, it’s the authenticity that pushes it beyond an ordinary R-rated coming of age film.

Booksmart also establishes Amy’s storyline as openly queer in a manner that feels natural and fully developed. As most are, her first attempts at romance are awkward as she works up the courage to speak to the girl she pines for. She’s never singled out for her sexuality. In fact, the film holds an abundance of canonically queer characters that feel full of life, and her romantic experiences are treated with the same consideration as Molly’s. This isn’t the first major film to feature a young lesbian prominently, but it’s still a huge deal for a queer teen to pursue a crush without being outed against their will or rejected by their own friends. I’m looking right at you, Love, Simon.

On top of everything else, the supporting cast is stacked with fantastic roles. Lisa Kudrow and Will Forte are Amy’s loving, out of touch parents who are confused by modern teens but still supportive of her close friendship with Molly. Skyler Gisondo is hilarious as Jared, a thoughtful but overenthusiastic classmate who learns from our protagonists that money can’t buy genuine friendship. Jason Sudeikis has a bit part as a principal by day, Uber driver by night who becomes reluctantly embroiled with the girls’ scheme. And then, there is Billie Lourd. Compared to the rest, she’s on a whole other level as Gigi, an utter enigma of a party girl. Lourd’s deep dive into this befuddling persona is so rewarding and memorable that each instance she pops up triggers an instant dose of dopamine to the brain. As small as some of these comic characters are, the real genius is how they fold into and enrich the larger narrative.

Booksmart operates as a coming of age story, which seems to be a running theme the past couple years with young directors on the rise. While on the heels of the excellence of Lady Bird and Eighth Grade, Booksmart’s wholehearted brilliance stands up there with the rest of them. Olivia Wilde’s fresh directorial influence comes with a willingness to break conventional rules and take risks that others more entrenched may not. Her style is clearly full of enthusiasm and love for the craft, and her perspective as an actor works as a catalyst for some inspired performances. The entire film is an embarrassment of riches with endless re-watch value. It will without doubt secure a place in audiences’ hearts as an instant classic. Much like Molly and Amy, Booksmart has earned its A+.

4.5/5 STARS