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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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.

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Jim Saunders’ Top Ten Films of 2019

The 2010’s were an exceptionally strong decade for cinema – a statement I stand by despite my inherent bias of only being 19 years old. Nevertheless, 2019 in particular was a notably mature and forbearing bookend to this madcap 10 years. We witnessed the solidification of Netflix and other streaming services as legitimate entertainment enterprises for original content that bridged the gap between the arthouse and barn-burning event cinema. Furthermore, blockbusters became more introspective, A24 dominated the independent film scene, rising filmmakers blessed us with their unique vision, and even the most legendary directors of our generation released their best works to date. With all that praise behind me, let’s give a shoutout to some films I adored that didn’t quite make the prestigiously difficult cut this year. Those include The Farewell, The Lighthouse, Waves, The Last Black Man in San Francisco, Jojo Rabbit, High Life, Midsommar, Avengers: Endgame and Rocketman. I highly recommend all of the aforementioned films, and without further ado, here are my top 10 favorites of 2019 🙂

10. Hustlers (Lorene Scafaria, 2019)

Inspired by the New York magazine article “The Hustlers at Scores”, Hustlers is a cautionary tale of a group of strip club employees who sought to swindle their Wall Street clients during the backdrop of the 2008 financial crisis; it demonstrates the hazardous yet seemingly necessary trek towards economic freedom, and how easy it is to lose one’s sense of reality once you’re at the top. But it’s also incredibly liberating, sexy, and exuberant, giving the control back to the women in a world where men decide the value of their work. Jennifer Lopez, in her undoubtably greatest performance yet, revels in the allure and danger of the hustle, gracing the screen with her raw power. Greatly influenced but not at all defined by the work of Scorsese, Hustlers is the most surprising grand slam of 2019.

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

9. Ad Astra (James Gray, 2019)

What can so strongly compel someone to take the leap into the infinite void of space? Is it for the collective intelligence, heroism, and betterment of mankind? As the film’s Latin translation indicates, Ad Astra seeks to answer these questions and explore the psyche of a man on his journey “to the stars”, as Major Roy McBride (Brad Pitt) is plagued by the numbness that brings him geographically closer to his estranged father, while tragically becoming that same man he resents in the process of traveling perpetually deeper into the cosmos. Brad Pitt’s restrained performance perfectly encapsulates the irony of a man brave enough to blast himself through the dark unknown, yet is cowardly in the face of emotion and genuine connection. It’s through such a juxtaposition that not only is Ad Astra a brazen takedown of toxic masculinity, but one of the most unique, most reflexive sci-fi films of the decade. Though it contains brief flourishes of idiosyncratic genre-related embellishments (a low gravity speeder chase, Subway on the moon?), this is about as earnest and deeply human as contemporary science fiction gets.

You can read PJ Knapke’s full review of Ad Astra here.

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

2019 was the year I discovered how much I admire Quentin Tarantino. I love his frenetic action sequences, his genre film homages, and above all else, his unwavering passion for the medium. In Once Upon a Time in Hollywood, he seeks to revel in his revisionist history pastiche of late-60’s era Los Angeles, cruising down at a breezy 30 mph, soaking in the atmosphere of a seemingly simpler time. Tarantino’s nostalgic 9th film ultimately culminates in his typical explosion of violence, but it’s paralleled with the most sanguine of “what-ifs?” – one that among further inquiry rings true to be one of the most bittersweet and beautiful closing scenes of the year. Let your guard down, and this film becomes blissful escapism.

You can read my 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.

7. Marriage Story (Noah Baumbach, 2019)

To quote my Letterboxd review, “at its core, Marriage Story is a story of imperfection – imperfection that manifests itself through miscommunication, selfish tendencies, and, at its most harrowing, in the hurt we inflict on the ones we love the most. And it’s a damn near perfect film.”

It’s a film that starts an ends with love – a love that wavers yet never truly diminishes, just morphs into its own imperfect beast. Unflinchingly honest and emotionally wrecking, Marriage Story showcases Adam Driver and Scarlet Johannson at their most vehement. Drenched in verisimilitude to the point where, without even knowing about writer/director Noah Baumbach’s divorce, or having experienced divorce oneself, this feels about as real as it gets. Absolutely devastating, but you can’t help but watch from the sidelines.

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

6. Knives Out (Rian Johnson, 2019)

I will never not stand by my “hot take” that I believe Star Wars: The Last Jedi is one of the greatest, most audacious blockbusters of the decade, let alone the century. Needless of what one has to say about the borderline inconclusive sequel trilogy of Star Wars films, I’ll always thank Disney for the creative liberties allotted to Johnson, even at the risk of isolating a precariously divisive fanbase. Ironically enough, Knives Out, Johnson’s own Agatha Christie homage with a modern subversion, is his most safe film to date, but that’s not to discredit his phenomenal work here. Knives Out is meticulous and subtle, not because of its inherently political message, but more so due to how each character deals with the truth behind that message and how that plays into traditional “whodunnit” conventions (twists, turns, betrayals, etc.). Johnson has crafted an insanely smart script, and without divulging into spoilers, Knives Out features an absurdly effective cast, with Ana De Armas as the true shining star of the bunch. The knives are out!

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

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

The stage is set in Uncut Gems onto a mine in Ethiopia, two men discover a black opal encased in a piece of rock. As the camera pans closer, the gem taunts the audience with its natural beauty. We witness the gem transform from a solid, to a vibrant gas cloud, to a tubular cavernous patch, to Howard Ratner’s (Adam Sandler’s) colon. Though they’re a series of seemingly incongruent images, it’s somehow a perfect thesis to Ratner as a character: what he chases is what becomes of him. (Without spoilers, it also sets up a genius piece of dramatic irony.) And thus begins the catastrophic, anxiety-riddled ride that is Uncut Gems, where Ratner’s dependence on the opal sends him on a spiral of poor choices that erodes his already dicey familial ties. I can’t imagine any other performance this year for an actor as fitting as Adam Sandler filling the shoes of a sleazy, charismatic gambling addict. An endlessly captivating tragedy of greed and punishment.

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

4. Little Women (Greta Gerwig, 2019)

Jo, Meg, Amy, and Beth. Four (little) women, each with their own goals, each with their own destinies, all attempting to forge their own names in the history books. And I adored watching their journeys unfold. Greta Gerwig infuses Louisa May Alcott’s text with incredible grace and beauty; if Lady Bird was her leaving her mark as a writer, Little Women is her leaving her mark as a true auteur. It’s like the cinematic equivalent of a warm embrace with an old friend after a long while – it’s sweet, comforting, and that innate emotional longing is ever present. In the same vein, the film brilliantly displays a non-linear narrative between the past and present, with the former representing the warmth and vivacity of nostalgia. There’s a palpable vitality and relevance to Little Women – its mellow heart will gently beat for generations to come.

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

3. Honey Boy (Alma Har’el, 2019)

Honey Boy pulled me through the wringer and hung me out to dry, leaving me with a sorrowful introspection I rarely experience in a film as short as this is. There’s something so poetic about Shia Labeouf playing his father in a film about the currents of generational trauma. Where Marriage Story explored the complex emotions intertwined within a spousal relationship, Honey Boy does the same with parental relationships. Despite all the hurt, you can’t help but love them, and you can’t help but need them. Its semi-autobiographical nature provides a meta-narrative that is somehow just as intensely cathartic for the audience as it is for Shia himself. A cinematic act of bravery that does so much with so little.

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

2. Parasite (Bong Joon-Ho, 2019)

Despite it’s ranking at #2 here, Parasite is undeniably the best film of 2019. More so than any other foreign film this decade, it’s managed to amass a large American following, some of which are typically averse to the “one inch tall barrier”. Nonetheless, Parasite is an absolute blast. It’s a meticulous, operatic, and technically flawless film that manages to be more than the sum of its parts, even when each part that comprises it holistically is already perfect as is.

When thinking about Parasite, my mind always goes back to the scene where the Kim family is desperately attempting to grab their belongings from their flooded half basement home. Ki-Jung, climbing to the top of the bathroom, witnesses bursts of water rapidly sputtering out of their toilet, and the shot immediately following is a “Kuleshov effect” moment, with a toilet seat being closed in the Park family house. On my initial watch of the film, that was the exact moment when the themes of the film clicked for me. The Park’s, like many affluent families, are not overtly “evil”, but rather, are completely ignorant to how their actions are inadvertently affecting the Kim’s. It’s symbolic of a much larger class divide, and to me, that’s arguably just as frightening, and immensely more real. If two shots of a toilet are enough to make me think “that’s genius”, then the film must be pretty damn special.

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

1. A Hidden Life (Terrence Malick, 2019)

As of the time I’m drafting this feature, I have seen no other films from acclaimed director Terrence Malick, and I realize now how much I’ve been doing myself a disservice. A Hidden Life is a revelation – it’s yet another WW2 drama on paper, but in grand scope, it not only recognizes the horrors of war as being both the inherent violence and loss of life, but also the overwhelming sense of isolation associated with being on the right side of history at the wrong time. There’s a constant battle of faith; faith in God, faith in one’s moral compass, and faith that at the end of this life, their efforts would all have been worth it. A Hidden Life is a superbly poignant love letter to those who, in the face of adversity and evil didn’t just stand idly by, yet still disappeared from the earth without a trace. Unsung heroes, this one’s for you.

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

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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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Review: ‘Knives Out’ is the Funny, Fresh, Twisty Thrill We Need Right Now

In my opinion, there are two reasons that movies exist. Either they are a medium of self-expression or they are a way to entertain us. The latter of these two is almost certainly going draw thousands to the movies over the Thanksgiving break.

Knives Out immediately draws you into the mystery surrounding the death of wealthy author, Harlan Thrombey (Christopher Plummer). You are there at the scene of the crime, the Thrombey estate, and immediately are shown the dead body. The location scouting and production design teams have to be given credit for their work. In the estate (the primary location throughout the film), the Thrombey family’s wealth is immaculately stated in every detail of the house; whether it be the excess of ridiculous objects, narrow hallways with many rooms, or the many paintings of Harlem himself, it’s clear. They are wealthy; part of the elite.

However, the stellar writing of writer/director Rian Johnson’s script clearly makes this family out to be spoiled and ridiculous, leading to some genuinely solid laughs from start to finish. However, Johnson interestingly takes an approach that completely undermines the conventions of the murder mystery genre. Johnson initially follows the tradition of giving us a motive for all the characters to kill him, but he pulls the rug from under you. Once that happens, the movie becomes something fresh. It’s unpredictable and will keep you on the edge of your seat with an atmosphere thick with tension and dialogue designed to keep us laughing.

The narrative juxtaposes three sides of this story: the family, the police, and, our main protagonist, Marta Cabrera (Ana de Armas). As with many films of this generation, there is clearly a social commentary in this movie. There are clear connections that Johnson makes between the contained story of the film and our present political climate. It’s not subtle at all, and the message is not revolutionary, but it leads to a great punch at the end that ultimately leaves you in a good mood.

Nothing needs to be said about say anything about acting in this film. The cast is star studded. Chris Evans. Daniel Craig. Toni Collette. Jamie Lee Curtis. Michael Shannon. Lakeith Stanfield. All of the performances here are solid. Ana de Armas in particular grounds the film with an excellent performance. It’s believable and has some genuine (albeit, limited) depth. Prior to Knives Out, she had never held a lead role in a major Hollywood film. Praise must be given for being able to give such a good performance among the powerhouse actors in the movie.

Overall, this whodunnit has excellent direction from a talented writer/director that continues to make great movies. Yes, you could wait to see the film when it comes out on digital, but you risk being stabbed in the back with spoilers. This is the type of movie that doesn’t come along that often. It’s an original story in a mostly underrepresented genre in today’s studio releases. It’s definitely worth multiple viewings when the chance presents itself.

4.5/5 STARS