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.

Continue reading “Stephanie Chuang’s Top Ten Films of 2019” →

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Payton Bissel’s Top Ten Films of 2019

This year was a crazy ride for film. Huge crowd pleasers like Avengers: Endgame were released and cinema giants like Scorsese and Tarantino dropped passion projects (The Irishman and Once Upon a Time in Hollywood.) While I sadly missed some of my most anticipated movies of the year, being The Lighthouse and Parasite, circumstance did not bring me to see them in the year they were released. This list will be what I have seen this year, not what I believe to truly be the best films of 2019.

10. Shazam! (David Sanberg, 2019)

DC, after a long period of disappointment, took 2019 to show that they can produce something of quality given enough time. In the great sea of superhero movies, Shazam! cements itself for me as one of the higher quality fims in the genre. Superheos being at its core a genre for children and young adults, having a hero that is a child makes it more entertaining and connectable. It is far from high cinema, but it blew my low expectations out of the water.

You can read Aleks Jovcic’s full review of Shazam! here.

9. Dark Waters (Todd Haynes, 2019)

I was surprised at how invested I was in this tale of an insider attorney facing the system that he protects. The film has a lot of heart, and Ruffalo delivers a great performance of his character. Not much to discuss but I enjoyed it.

You can read Luccas Pryor’s full review of Dark Waters here.

8. Avengers: Endgame (Russo Brothers, 2019)

Wow, this was an event. I’m not exaggerating when I say that I have waited for this for a decade. I have been a Marvel fan since Iron Man and seeing it accumulate into this cultural phenomenon is something else. While I prefer Infinity War a bit more, this is still undeniably one of the biggest movie events since the original Star Wars trilogy. As a film, it is lacking. It is still corporate Marvel movie, but this is the peak of what corporate Marvel movie can be.

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

7. Jojo Rabbit (Taika Waititi, 2019)

Taika Waititi is quickly rising to become one of my favorite people in the movie business. This film only cemented his place in my mind even more. He is a master of the New Zealand comedy I fell in love with when watching Flight of the Conchords. Jojo Rabbit is exactly the kind film I wanted from Waititi. He did not disappoint in the least. Great acting and an overall entertaining experience.

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

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

While it is my least favorite Tarantino movie to date, I cannot deny the beauty of this film. I don’t have the nostalgia from the time period or the emotional connection to the tragedy that occurred in that time, but I do understand how this is a perfect way to reminisce and emotionally heal. The craftsmanship behind the movie is amazing, and the acting is superb, especially Brad Pitt’s. While overshadowed by its comrades in Tarantino’s filmography, it is a strong film nevertheless.

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.

5. Invader Zim: Enter the Florpus (Jhonen Vasquez, 2019)

As a huge fan of the series as a kid, seeing this return to glory made me so happy. I could feel the film leaking with love and care for the series and it showed. I couldn’t see a movie/finale for the series being any better.

4. Waves (Trey Edwards Schults, 2019)

At first, I really didn’t think much of this film, but the more it sat with me the more I appreciated it. The film really is an epic told in the most personal way. It stays close to its characters and lets their emotional journeys play out in a deep and compelling way.

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

3. Midsommar (Ari Aster, 2019)

The person I watched this movie with puked from the psychological torment. This film is an attack on the psyche and I absolutely adore it. A great horror film and an amazing film about relationships, with amazing set design and score it is an experience to say the least.

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

2. The Irishman (Martin Scorsese, 2019)

This movie was three and a half hours well spent. As someone who has not been completely immersed in the gangster genre, it does not hit home that much for me, but I completely feel the impact of the story and everything that happens in the life of the Irishman. A solemn yet humorous experience that is a true slow burn but is worth every single second.

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

1. Joker (Todd Phillips, 2019)

I was blown away by this film. I never had faith in this project and I am still blown away by how much I love this movie. I see it as an amazing homage to Taxi Driver, while doing its absolute best with the Joker and Batman IP. It is the perfect blend. I see the passion in the project and the artistry explode from the scenes as the movie plays. I love it. I won’t say it is without flaws, but I am continuously disappointed how the magic is overlooked by audiences. I am exited to look back at this film in a few years and see if it gets any more appreciation, or if it pulls in any Oscars.

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

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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.

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 #59 – Jojo Rabbit

“You’re not a podcaster, Jojo. You’re a ten year old kid who likes movies and wants to be a part of a club.”

Taika Waititi’s newest film, Jojo Rabbit, is an “anti-hate satire” taking the film world by storm! It won the People’s Choice Award at TIFF and already has a copious amount of Oscar buzz, so what better time to start talking about the film! In this podcast, we talk about Waititi’s comedic sensibilities, the film’s memorable characters, and its sensitivity in approaching the subject matter. Be the rabbit, and listen to the 59th episode of the UW Film Club Podcast now!

On this episode: Jim Saunders and Ajay Rawat

Ajay’s Review: http://students.washington.edu/film/2019/11/04/review-jojo-rabbit-is-an-emotional-roller-coaster/

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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Review: ‘Jojo Rabbit’ is an Emotional Roller Coaster

Taika Waititi is often regarded as the master of “Happy-Sad Cinema.” His movies are characterized by great storytelling, tragic and dramatic turns, and his unusual use of comedy to drive the story. Jojo Rabbit is no different. This movie follows the story of Jojo, a 10-year-old German boy in Nazi Germany, and Elsa, a Jewish girl who is hiding in his house with the help of his mother. What makes this a Waititi plot is that Jojo’s imaginary best friend is Der Fuhrer himself: Adolf Hitler.

Like most of Waititi’s other films, this is a character-driven story. After establishing all of the main characters in the first act of the movie, the plot moves smoothly according to the choices each character makes. On top of this, the cast gives an amazing set of performances. It is hard to believe that none of the main cast is German, because everyone’s accent is spot on (especially Scarlett Johansson’s). Unsurprisingly, Taika gives an excellent portrayal of a childish Hitler. Roman Davis (Jojo) and Thomasin McKenzie (Elsa Korr) beautifully play the contrasting leads of the story. Scarlett Johansson gives an excellent performances as Jojo’s mother, who Waititi describes as “a mother character that isn’t just a mother.” Archie Yates plays the loveable Yorki, Jojo’s friend, and though Stephen Merchant has only one major scene, he makes it a memorable one.

The cinematography is one of the most impressive aspects of this film. In every scene, one of the cameras is kept at a low angle to emulate Jojo’s point of view. We experience all the scenes from his perspective and it really helps us connect with him as a character. When put together with the stellar costume and set design, we really feel like we’re in Jojo’s shoes. The score, by Michael Giacchino, perfectly matches the themes and transitions. From The Beatles’ “I Want to Hold Your Hand” to Giacchino’s “A World of the Wise,” the soundtrack expertly accompanies the movie as it progresses and changes tone.

All of the elements of a Waititi script are evident in this film. Even though the story deals with some serious issues and themes, Waititi uses humor to lighten the tone. He cleverly inserts a comedic beat or two in scenes with immense terror and strong emotions. What results is a heartfelt story of growth. As the story progresses, we get to see different sides of the same characters. All of the characters, especially Jojo, evolve throughout the film and experience changes in their relationship with others.

Although the major purpose of the Jojo’s imaginary Hitler is to provide comedic relief, He also gives an insight into Jojo’s mind, as he is a representation of the lies and propaganda spread by the Nazi government. Just like the rest of the Hitler Youth, Jojo is initially brainwashed into believing the lies propagated by the government. He has an unrealistic image of Jewish people and is led to believe that they are demons that he must take down. However, his mother combats this throughout the film as she tries to subtly convince Jojo to have a more compassionate view of the world. Because of this, we get to see the conflict that goes on inside Jojo’s mind. Jojo is it a constant struggle with himself as he is trying to figure out whether he is truly a Nazi or something else. His mother and imaginary Hilter represent the angel and devil on his shoulder. On one hand, he wants to be caring like his mother, but on the other hand, he wants to please Hitler by following Nazi ideals.

There are enough sudden turns and twists for the movie to be an emotional roller coaster. You could be laughing in one scene and crying the next. This movie is less of a story and more of an experience. It reaches both extremes of the emotional spectrum. Taika’s impression of the cartoonish Hitler is the icing on the cake that is this multi-layered film. Through this heartwarming, anti-hate, satirical comedy, Waititi wants to send a clear message: “It is definitely not a good time to be a Nazi.”

4.2/5 STARS