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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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.

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.

Piper Coyner’s Top Ten Films of 2019

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

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Jesus Alfaro’s Top Ten Films of 2019

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

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

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

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

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

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

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

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

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

7. High Life (Claire Dennis, 2019)

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

6. The Lighthouse (Robert Eggers, 2019)

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

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

5. Parasite (Bong Joon-Ho, 2019)

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

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

4. 1917 (Sam Mendes, 2019)

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

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

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

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

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

2. Joker (Todd Phillips, 2019)

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

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

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

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

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.

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.

Continue reading “Maddie McDougall’s Top Ten Films of 2019”

Luccas Pryor’s Top Ten Films of 2019

As the final year in a decade notable for simultaneously expanding indie distribution through A24, introducing the great streaming wars between Netflix, Amazon and more, as well as suffocating general audiences with an onslaught of sequels, reboots, and of course Marvel films, 2019 was an exceptional year in cinema. It was a complex and ultimately satisfying year, pushing towards more ethnic representation and gender diversity than ever before. It also, at its best (and hopefully represented in the list below), bridged the gap and subsequently solved the cinema and amusement park ride debate, proving a film can be both. 2019 expressed intimate emotions and ideas spread elegantly across an entertaining canvas, featuring four little women, three gangster icons, 2 sparring New York/LA socialites, and of course, one angry jew. In other words, it had it all. As all active years go, this could have easily been a detailed list of 20 films or more, but a top 10 dilutes the best of the year into a truly diverse and memorable collection. Honorable mentions (in no particular order): Transit, Pain and Glory, Little Women, High Flying Bird, Ash is the Purest White, Her Smell, Toy Story 4, The Farewell, and Marriage Story. See my full 2019 ranked list here.

10. A Hidden Life (Terrence Malick, 2019)

“…the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.” -George Eliot

He’s back! After decades with work as prolific as a world war, Terrence Malick has seemed to lose a step in recent years, diving headfirst into expressionistic dance art pieces with no narrative focus. However, Malick’s A Hidden Life is a grandiose return to form, combining a wrenching tale of martyrdom in the Second World War with his usual trademarks, including sensitive diegetic sound design and lush imagery. Among my Mount Rushmore of favorite directors, Malick stands apart at the top, and it more of a reflection of his quality as a director than of the year itself that the weakest film I have seen from him is a top 10 film of the year. It moves swiftly from Sirk melodrama to haunting wartime thriller, wide shots of the Swiss fields juxtaposed with lonely close-ups of men in chains. It is long, exhausting, and even frustrating, yet in the end, it is one of the most pivotal films of the year by an artist who rarely makes anything but. Malick’s penchant for lengthy montages with straightforward Oscar-bait may seem curious, but here it is swoon-worthy.

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

9. Dragged Across Concrete (S. Craig Zahler, 2019)

“In this world, every man wants to become a lion.”

Usually, I am a reasonably even-keeled reviewer. If a film has universal raves, I like it! If a movie has poor reviews, I dislike it! Pretty simple, right? Dragged Across Concrete opened with a modicum of mixed-to positive review, most of which were concerned with the film’s tumultuous right-wing politics. Zahler, a known Republican, famous for his gritty dialogue and pulpy grind-house films, continues to elevate his prose and low-art style. The first time, I found this to be a highly watchable hang-out masterpiece, with expansive plotting and original characters, the type of slow-burn that in the ’70s would be on a double bill only to later become a cult classic. On a second watch, I found this to be rife with melancholy, Zahler writing his heros not as indestructible right-wing soldiers, yet rather filled with pity and regret. In the end, the two protagonists perish in a fire-fight with the soulful antagonist, revealing himself to be the protagonist all along. Dragged Across Concrete is brave filmmaking filled with the type of grand storytelling that can only happen on a shoe-string budget.

8. Portrait of a Lady on Fire (Céline Sciamma, 2019)

“In solitude, I felt the liberty you spoke of. But I also felt your absence.”

The power of film can come from anticipating a new film from an acclaimed director, but equally to discover a brand new filmmaker and instantly fall in love. Céline Sciamma, known for Indies such as Girlhood and Tomboy, curates her masterpiece, a slow burn of picturesque desire and lust. I’ve always been interested in a raw portrait about the start of a relationship, one not befallen with cliches and didactic writing. In Portrait of Lady on Fire, Sciamma writes her characters with such specificity that you believe you are watching two real people fall in love over time, culminating in one of the most romantic and heartbreaking films of the year.

You can read Armon Mahdavi’s full review of Portrait of a Lady on Fire here.

7. The Souvenir (Joanna Hogg, 2019)

“You would be a terrible landlord. I am a terrible landlord.”

I could easily cut and paste my review for Portrait of a Lady on Fire, and my impressions would largely remain the same. The only distinction is that while both are romantic two-handers with a specific combination between character and setting, The Souvenir is more about the natural destruction of a relationship while also building a foundation to form an elegant and woeful coming-of-age picture. It is the combination of these two elements that ultimately make this among the best of the year. As the protagonist Julie, played by Tilda Swinton’s daughter, moves from the pleasure and pains of growing up, her significant other Anthony, played by a scene-stealing Tom Burke, portrays an ethereal presence on screen and off. When he is on screen, its a relationship filled with frustration and off-kilter love. When he is off, it is a relationship filled with emptiness and a tragic, inevitable decline into the difficulties of young love and finding your own identity. The Souvenir is a dry British masterwork.

6. High Life (Claire Denis, 2019)

“Shall we? Yes.”

The film that was my number one for the majority of the year, High Life was my introduction to the unique and distinct work of French filmmaker Claire Denis. What I got was unlike any other film I saw this year: a horror movie set upon a prison space ship about the decline of the moral individual on a global scale, synthesizing euro artistic influences with a study on humanity’s cyclical self-destruction. Denis specially chooses her inmates as portraits of the world, from obsessive women to violent men. Even the protagonist Monte, of whom Denis flirts with the moral background frequently throughout the film, is revealed to be guilty of the crime he committed. Denis emphasizes sex, violence, but above all else, rebirth – a fitting image a film filled with dread and despair. And yet, that’s precisely what makes High Life so special. I’ll always remember the tender moments between Andre 3000’s Tcherny in the garden or even the film’s final image – a father and a daughter caressing each other as they wait for oblivion, synthesizing time and space into a final image so powerful that it somehow makes all the craziness worth it.

5. Parasite (Bong Joon-Ho, 2019)

“Dad, today I made a plan – a fundamental plan. I’m going to earn money, a lot of it. University, a career, marriage, those are all fine, but first I’ll earn money. When I have money, I’ll buy the house. On the day we move in, Mom and I will be in the yard. Because the sunshine is so nice there. All you’ll need to do is walk up the stairs. Take care until then. So long.”

Probably the film of the year. As I said in the introduction, I believe the best films of the year bridge the gap between high art and high entertainment, and no other movie perfectly represents that than Parasite. It moves between genres with ease, unfolding upon a first watch one of the scariest and timeliest films of the year, whether as a heist film or domestic comedy or even a horror extravaganza with class warfare and rife symbolism sprinkled in. It’s the type of film that is so meticulous and slick with perfectionism that it might even be considered off-putting. Yet Bong’s filmmaking worked on me, his love of movies clearly present whether through Hitchcock’s plotting or even Spielberg’s earnest storytelling, all in service of telling a timely picture filled with comfort, humor, and blood. And just like the many films on this list, the ending is a knockout, with a sequence so shocking, tender, and hopeful that it left me bowled over by the time I left the theater.

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

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

“Don’t cry in front of the Mexicans.”

One of two major late-career films in my top 5 the year, Once Upon a Time in Hollywood is a borderline triumph from one of cinema’s most famous auteurs over the past 30 years. As we end the decade, it is only fitting that Tarantino finally makes a nostalgic passion-project about his childhood, filled with melancholy reverence and loud applause. The ending fight may be classic Quentin, but what comes 2 hours before is a patient, rewarding picture about the decline of old Hollywood and a person’s role left to play in it. It is his most borderline avant-garde film, with lengthy sequences trimmed in most studio films. Pitt’s nighttime drive to Deep Purple’s Hush remains one of the most splendid moments of the year, a nighttime driving scene that fully envelops the audience in the world of the late ’60s, showing off the year’s best production design. Later in the film, Tarantino films an extended take of two best friends watching an episode of FBI, voiceover playing in full as the whole scene plays out uncut, recreating an entire episode opening. But what comes near the end of the film is one of the best pieces of cinema I have ever seen, a short yet powerful sequence in which famous LA restaurants and establishments open for business, neon lights beaming across downtown LA’s hazy purple skies. It is such a distinct, soulful piece of nostalgiac cinema. I will never forget it. As Al Pacino says early on in the film, “What a picture.”

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.

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

“This is how I win.”

It’s rare for your most anticipated film of the year to meet expectations, let alone exceed them, and yet Uncut Gems delivers. More than that, after Good Time, the Safdie Brothers follow up their 2017 hit with an expansive character actor opera and the best performance of the year standing right in the middle. Sandler, in his second noticeable dramatic role in his career, is nothing short of outstanding. Rather than lose his typical comedic timing, Sandler uses it to extrapolate pathos for a seedy gambler who continually chases the next big hit. It’s in irrational character only made likable by Sandler’s god-tier performance. However, what makes Uncut Gems so extraordinary isn’t the central character but the detail in which the Safdie brothers and Ronald Bronstein write the supporting characters. Each tells a specific mini subplot in Ratner’s hectic and tragic life, whether it’s through Julia Fox’s earnest mistress or Eric Bogosian’s uneasy debtor. The whole film is a thrilling escalation of bad choices, broken bets and failed amends. It is all both gratifying and heartbreaking, resulting in one of the best 3rd acts of the modern millennium – a 2012 playoff Celtics game. Once the climax hits and Uncut Gems closes the thematic loop on its version of a modern-day Shakespearean tragedy, I realized this movie was made just for me.

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

2. The Irishman (Martin Scorsese, 2019)

“It’s what it is.”

Similar to Tarantino’s masterpiece, The Irishman is a distant late-career film, deconstructing the famous works of the greatest American filmmaker of all time. It is, of course, a riot of gangster entertainment, yet like any great piece of self-reflexive cinema, also somber, culminating in a desolate funeral tale of regret and aging. The three famous actors that set the stage have never been better, yet it is Pesci’s quiet work that stands out. After a career filled with testy little men with short tempers, here he plays his scariest character, directly affecting the morals of the men that surround him without ever lifting a finger. And of course, the declining morals of the three aging men is what Scorsese chooses to focus on. However, rather than their actions, he focuses on the aftermath, whether through DeNiro’s heartbreaking phone call with Hoffa’s wife or Peggy Sheeran’s wordless look of disdain towards her father’s hidden actions. But it is in the film’s final shot that ultimately relays all of Scorsese’s 3 and half hour epic intentions into a quick dagger of the heart – an image of a man staring at the door, waiting for someone to enter, and no one coming. The Irishman isn’t just one of the years best. It’s one of Scorsese’s best, full stop.

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

1. Ad Astra (James Gray, 2019)

“We’re all we’ve got.”

Ad Astra is the closest I’ve come to see a true masterpiece all year. It is a film that is more flawed than all of the previous four movies combined with all the subtext of a Stephen King novel, and yet rather acting as on the nose, Ad Astra IS the nose. Brad Pitt delivers one of his most essential performances in a career full of them, finally going full circle into an austere character actor. Hoyte Van Hoytema lenses the prettiest film of the year, shooting a stark contrast between the beauty of space and the desolate interiors that befall it. But above all else, in a decade that is known for the rampant destruction of integrity by the Hollywood studio system, James Gray directs a 90 million dollar art house film that channels Malick and Tarkovsky more than it does Feige. It’s filled with the best damn set pieces this year hands down, a Mad-Max lunar set piece, and a zero-gravity knife fight included. The emotional undercurrents and blatant earnestness gut me straight to the heart. On a night in which America is most likely going to war with Iran, General Roy’s earnest one-liner to his father is my line of the year. “We’re all we’ve got.” The infernal rage of hereditary toxic masculinity burns bright, but Ad Astra is ultimately about the absence of God in a universe without a moral compass. Without God, space is nothing but silence. And in a world filled with silence, someone has to speak up.

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

Review: ‘Once Upon a Time in Hollywood’ May As Well Be Tarantino’s Swan Song

Quentin Tarantino is a filmmaker, yes, but he is first and foremost a film fanatic – each release of his paying respect to the stories that made him fall in love with the medium. Whether that be through overt genre homages or obscure references stealthily positioned into his dialogue, he wears his influences on his sleeve with pride. In Once Upon a Time In Hollywood, he cranks that dial up to 11, creating a film that not only operates as a swan song to an era gone by but as a vehicle for him to vent his own frustrations while living vicariously through the lead characters. For that, it’s easily one of his most personal films to date.

Brad Pitt (left) as Cliff Booth and Leonardo DiCaprio (right) as Rick Dalton

This notion is no more apparent than in a scene shared between Rick Dalton (Leonardo DiCaprio) and the young Trudi (Julia Butters). The two, seated side by side in between shooting their scenes on the TV show “Lancer,” strike up a conversation about their reading material. Trudi, giving a synopsis of her Walt Disney biography, declares him a genius – the type of guy that’s “one-in-a-million.” Dalton, on the other hand, recounts the story of a middle-aged cowboy that’s lost his touch – one that parallels his own state at that point in the film – and drives himself to tears. It’s an “in your face” analogy of Old Hollywood vs. New Hollywood, but it’s effective at telling it as it is: Hollywood, for better or worse, isn’t the same as it once was, and the younger generations don’t gravitate towards the same types of stories. And the inclusion of Walt Disney wasn’t unintentional either – Tarantino has explicitly expressed disdain against the company, and it’s ironically fitting that Once Upon a Time in Hollywood debuted at the box office the same weekend as the live-action reboot of The Lion King, where it earned the #2 spot against the Disney juggernaut. Tarantino is clearly frustrated by classic film’s waning relevance, but that’s not to say the film carries a resentful tone. What Once Upon a Time in Hollywood is, is unabashed and bittersweet – it longs for the days of old while being fearless in its execution.

Margot Robbie as Sharon Tate

And longing this film is, with extended scenes of characters driving, walking, and simply being, set in the lush but lived-in 1960s Hollywood. On a cursory level, the intent behind such a decision on Tarantino’s part may be to simply show off the beautiful production design (which is genuinely astounding), but it’s also maybe an attempt to grasp onto the last remains of a dying breed of film, and to be in the moment with all its authenticity. The Sharon Tate theater scene is a perfect reflection of this, and also a heartbreaking reminder of fame’s fleeting nature. It’s off-putting to even think a film this mature, grounded, and free-flowing came from Tarantino, but at the same time, it’s a story so inherently intertwined within his own journey as a filmmaker that I can’t imagine anyone else making this. That in itself is a testament to his raw talent and legacy behind the camera.

I could say that while satisfying, the ending felt comparatively abrupt versus the consistently steady pace held by the rest of the film, and that I wish Sharon Tate, though treated with much respect under the circumstances, was more developed. At the end of the day, though, I would rather watch an audacious film over a safer film – flaws and all. Let’s treasure those films while we can.

3.75/5 STARS

UW Film Club Podcast #45 – Once Upon a Time in Hollywood

“Hey! You’re Rick ‘The Podcaster’ Dalton, don’t you forget it.”

Keeping in the summer movie spirit, we’ve decided to cover one of the most anticipated films from one of the most revered, yet controversial, filmmakers – Quentin Tarantino’s Once Upon a Time in Hollywood! His newest film involve the lives of a fading television actor and his stunt double as they navigate 1960s era Hollywood. In this podcast, we talk about this film in the context of Tarantino’s entire career, how it pays homage to Sharon Tate, and we have a couple disagreements over the film’s ending. Is this one of the legendary director’s best works? Find out now on the 45th episode of the UW Film Club Podcast!

On this episode: Cynthia Li and Jim Saunders.

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!